text:
"""
Message backends views

RemoteBaseMixin is the base *Mixin for all remote mixins for various output format,
it is where the format logic resides. But they are not views.

Further, the views are simple binding of RemoteBaseView plus their format mixins.

This is a simple system that allow to more flexible, besides the post views use the
mixins to implement their formats.
"""
import json, texttable, pytz

try:
    import xml.etree.cElementTree as ET
except ImportError:
    import xml.etree.ElementTree as ET

from django import http
from django.conf import settings
from django.core.urlresolvers import reverse
from django.contrib.sites.models import Site
from django.db.models.query import QuerySet
from django.http import HttpResponseNotModified
from django.shortcuts import get_object_or_404
from django.views.decorators.http import condition
from django.utils.decorators import method_decorator
from django.utils import timezone

from djangotribune.settings_local import (TRIBUNE_MESSAGES_MAX_LIMIT, TRIBUNE_MESSAGES_DEFAULT_LIMIT,
                                        TRIBUNE_BAK_SESSION_NAME)
from djangotribune.models import Channel, Message
from djangotribune.clocks import ClockIndice
from djangotribune.views import getmax_identity, BackendEncoder, ChannelAwareMixin, LockView

def last_modified_condition(request, *args, **kwargs):
    """
    Return the last modified date for message with queryset parameters (filters,
    request arguments, etc..) for conditional view header purpose.

    Use directly the remote base mixin to correctly do the queryset.
    """
    remote = RemoteBaseMixin()
    remote.request = request
    remote.args = args
    remote.kwargs = kwargs
    last = remote.get_last_item()
    if last:
        return last.created
    return None

class RemoteBaseMixin(ChannelAwareMixin):
    """
    Remote base mixin implement all base stuff to generate a remote backend

    A view that inherit it must implement a correct ``build_backend`` methods.
    """
    http_method_names = ['get']
    clock_indexation = True
    http304_if_empty = True
    mimetype = "text/plain; charset=utf-8"
    default_row_direction = "desc"
    backend_type = "json" # can be (plain|json|xml|xml-crap)
    # ``clock`` and ``created`` fields are required if ``clock_indexation`` is actived
    remote_fields = ('clock', 'created', 'author__username', 'user_agent', 'raw')
    # Get the timezone to enforce, default to the defined one in settings, don't play with this
    current_tz = pytz.timezone(settings.TIME_ZONE)

    def force_datetime_tz(self, value):
        """
        Force timezone on datetime object
        """
        return value.astimezone(self.current_tz)

    def get_last_id(self):
        """
        Get the id from which to start fetching

        POST argument have predominance on GET argument that have predominance on
        URL path element
        """
        last_id = self.kwargs.get('last_id', 0)
        last_id = self.request.GET.get('last_id', last_id)
        if self.request.POST:
            last_id = self.request.POST.get('last_id', last_id)
        try:
            last_id = int(last_id)
        except ValueError:
            return 0

        return last_id

    def get_row_direction(self):
        """Get row display direction from args if any"""
        direction = self.request.GET.get('direction', self.default_row_direction)
        if direction.lower() in ('asc', 'desc'):
            return direction
        return self.default_row_direction

    def get_backend_view_url(self):
        """Return the backend url, this is channel aware"""
        if hasattr(self, 'get_channel') and getattr(self, 'get_channel')():
            return reverse("tribune-channel-remote-{0}".format(self.backend_type), kwargs={'channel_slug':self.get_channel().slug})
        return reverse("tribune-remote-{0}".format(self.backend_type))

    def get_post_view_url(self):
        """Return the post url, this is channel aware"""
        if hasattr(self, 'get_channel') and getattr(self, 'get_channel')():
            return reverse("tribune-channel-post-{0}".format(self.backend_type), kwargs={'channel_slug':self.get_channel().slug})
        return reverse("tribune-post-{0}".format(self.backend_type))

    def get_clockfinder_view_url(self):
        """
        Return the clock finder url, this is channel aware

        We put the 00:00 clock pattern as a default, this is required to make a proper
        reverse. This default pattern should be stripped by clients to use the
        clockfinder url correctly.
        """
        if hasattr(self, 'get_channel') and getattr(self, 'get_channel')():
            return reverse("tribune-channel-clock-remote", kwargs={'clock': '00:00', 'channel_slug':self.get_channel().slug})
        return reverse("tribune-clock-remote", kwargs={'clock': '00:00'})

    def get_row_limit(self):
        """Get the row limit number to fetch"""
        try:
            limit = int(self.request.GET.get('limit', 0))
        except ValueError:
            limit = TRIBUNE_MESSAGES_DEFAULT_LIMIT
        finally:
            if not limit:
                limit = TRIBUNE_MESSAGES_DEFAULT_LIMIT
            elif limit > TRIBUNE_MESSAGES_MAX_LIMIT:
                limit = TRIBUNE_MESSAGES_MAX_LIMIT
        return limit

    def get_backend_queryset(self, channel, last_id, direction, limit):
        """
        Get the queryset to fetch messages with options from args/kwargs

        If the user session contain a BaK controller, it will be used to extract filters
        and apply them.

        The returned queryset contains only dicts of messages (where each dict is a
        message), mapped key comes from ``self.remote_fields``.
        """
        bak = self.request.session.get(TRIBUNE_BAK_SESSION_NAME, None)
        filters = None
        if bak and bak.active:
            filters = bak.get_filters()
        return Message.objects.get_backend(channel=channel, filters=filters, last_id=last_id).values(*self.remote_fields)[:limit]

    def get_last_item(self):
        """
        Return the last modified message using all queryset parameters applied

        This perform a query so this is not a method to call to know the last item from
        a fetched backend.
        """
        limit = self.get_row_limit()
        last_id = self.get_last_id()
        direction = self.get_row_direction()
        channel = self.get_channel()
        bak = self.request.session.get(TRIBUNE_BAK_SESSION_NAME, None)
        filters = None
        if bak and bak.active:
            filters = bak.get_filters()
        try:
            last_item = Message.objects.get_backend(channel=channel, filters=filters, last_id=last_id).latest('created')
        except Message.DoesNotExist:
            return None
        else:
            return last_item

    def get_backend(self):
        """
        Return a messages list containing a dict for each message
        """
        self.user_owned_messages = self.get_user_owned_messages()

        limit = self.get_row_limit()
        last_id = self.get_last_id()
        direction = self.get_row_direction()
        channel = self.get_channel()
        # Build the queryset with filtering, base order, limit, etc..
        q = self.get_backend_queryset(channel, last_id, direction, limit)
        # Do we enforce the clock indexation or not ?
        if self.clock_indexation:
            q = self.clock_indexing(q)
        else:
            q = map(self.patch_row, q)
        # Change direction if option is "asc", default is desc
        if direction == 'asc':
            if isinstance(q, QuerySet):
                q = list(q)
            q.reverse()
        return q

    def get_redirect_url(self, url):
        """Return the URL 'redirect to' with the URL args if any"""
        args = self.request.META["QUERY_STRING"]
        if args:
            url = "{0}?{1}".format(url, args)
        return url

    def get_user_owned_messages(self):
        """
        Get saved user's message id saved in session
        """
        if self.request.user.is_authenticated():
            return []
        return self.request.session.get('tribune_owned_post_ids', [])

    def build_backend(self, messages):
        return 'Hello World'

    def clock_indexing(self, backend):
        """
        Same clock indexation

        Linear identical clocks are marked with an indice called "clock indice" (or
        *brother indice*), a brother clock recover the previous indice incremented.

        This method use actually a double pass through on the message list.
        """
        # Count all duplicate clock and store them in a registry
        duplicates = {}
        for item in backend:
            this_date = self.force_datetime_tz(item['created']).strftime('%Y%m%d%H%M%S')

            if this_date in duplicates:
                duplicates[this_date] += 1
            else:
                duplicates[this_date] = 1
        # Apply the "real" indice to duplicates
        for item in backend:
            this_date = self.force_datetime_tz(item['created']).strftime('%Y%m%d%H%M%S')
            if this_date in duplicates:
                item['clock_indice'] = ClockIndice(duplicates[this_date])
                duplicates[this_date] = duplicates[this_date]-1
            else:
                item['clock_indice'] = ClockIndice(1)
            self.patch_row(item)
        return backend

    def patch_row(self, row):
        """
        For patching rows just after the backend has been fetched

        The problem :

        Because datetime objects are timezone aware and not time objects, it causes trouble in backend because created (datetime) is used to generate the id (time attribute in XML, created in others) then we use the clock (time) to display the clock.

        So the datetime is resolved with a different timezone from the clock, and it results to have a different hour in id and clock.

        This cause troubles for highlighted post, answer notification, and client parsing.

        The solution :

        * Force the configured timezone settings on used datetime from the database (else django try to resolve them from +0000)
        * Will be nice in Message entries to save the clock extracted from the datetime to ensure they allways be exactly the same (actually they differs only on microseconds)
        * The clock message stay to be used in specific queryset filters and instead we only use clock extraced from the localized datetime
        """
        # Allways forcing timezone
        row['created'] = self.force_datetime_tz(row['created'])
        # Replace the saved clock with the one from created to assure they allways are identical
        row['clock'] = row['created'].time()
        return row

    def patch_response(self, response):
        """
        For patching response like headers injection, etc..

        By default this add cache information to avoid remotes caching by browsers
        """
        response['Pragma'] = "no-cache"
        response['Cache-Control'] = "no-cache, no-store, must-revalidate, max-age=0"
        return response

class RemotePlainMixin(RemoteBaseMixin):
    """
    Remote PLAIN TEXT mixin
    """
    default_row_direction = "asc"

    def patch_row(self, row):
        row = super(RemotePlainMixin, self).patch_row(row)
        row['user_agent'] = row['user_agent'][:30]
        return row

    def build_backend(self, messages):
        """
        Plain/text backend is just a row list of messages with three columns (clock,
        identity, message) tabulated and optionnaly an header title

        * Clock column width is always fixed on 10 characters;
        * Identity column width is aligned on the biggest identity (username or
          user_agent);
        * Message column takes the size left in the table maximum width.
        """
        clock_col_width = 10
        default_table_width = 90
        max_table_width = 600

        try:
            table_width = int(self.request.GET.get('table_width', default_table_width))
        except ValueError:
            table_width = default_table_width
        else:
            if table_width > max_table_width:
                table_width = max_table_width

        username_modifier = lambda x: u"<{0}>".format(x)
        identity_col_width = reduce(lambda x,y: getmax_identity(x,y, username_cmp=username_modifier), messages, 10)

        table = texttable.Texttable()
        table.set_deco(texttable.Texttable.HEADER)
        table.set_cols_dtype(["t", "t", "t"])
        table.set_cols_align(["l", "l", "l"])
        table.set_cols_valign(["t", "t", "t"])
        table.set_cols_width([clock_col_width, identity_col_width, table_width-identity_col_width-clock_col_width])

        for item in messages:
            clock = item['clock'].strftime("%H:%M:%S")
            if int(item.get('clock_indice', 1)) > 1:
                clock += unicode(item['clock_indice'])

            identity = item['user_agent']
            if item['author__username']:
                identity = username_modifier(item['author__username'])

            message = item['raw']

            table.add_row( (clock.encode('utf-8'), identity.encode('utf-8'), message.encode('utf-8')) )

        return table.draw()

class RemoteJsonMixin(RemoteBaseMixin):
    """
    Remote JSON mixin
    """
    mimetype = "application/json; charset=utf-8"
    remote_fields = ('id', 'created', 'clock', 'author__username', 'user_agent', 'web_render')
    default_row_direction = "asc"

    def build_backend(self, messages):
        if isinstance(messages, QuerySet):
            messages = list(messages)
        return json.dumps(messages, cls=BackendEncoder)

    def patch_row(self, row):
        """
        Add a *clockclass* suitable in ``class=""``, it's a combination of ``clock`` and
        ``clock_indice`` (padded on two digits)
        """
        row = super(RemoteJsonMixin, self).patch_row(row)
        clock = row['clock'].strftime("%H%M%S")
        row['clockclass'] = clock + str(row.get('clock_indice', 1))
        row['clock_indice'] = row['clock_indice'].real
        # Add the owned mark if the message is authored by the current user
        row['owned'] = False
        if (self.request.user.is_authenticated() and row['author__username'] and self.request.user.username == row['author__username']) or (row['id'] in self.user_owned_messages):
            row['owned'] = True
        return row

class RemoteHtmlMixin(RemoteJsonMixin):
    """
    Remote Html mixin for template usage

    There is no real builded backend (as other backends) because it's the queryset that
    is directly returned in the template. And some URL arguments are ignored because they
    have no sense in this context.
    """
    def build_backend(self, messages):
        return messages

    def get_last_id(self):
        """Ignore 'last_id' option"""
        return 0

    def get_row_direction(self):
        """Ignore 'direction' option"""
        return self.default_row_direction

class RemoteXmlMixin(RemoteBaseMixin):
    """
    Remote XML mixin
    """
    clock_indexation = False
    prettify_backend = False
    mimetype = "application/xml; charset=utf-8"
    remote_fields = ('id', 'created', 'author__username', 'user_agent', 'remote_render')

    def build_backend(self, messages):
        root = ET.Element("board")
        root.set('site', "http://{0}".format(Site.objects.get_current().domain))

        for item in messages:
            message_item = ET.SubElement(root, "post")
            message_item.set('id', str(item['id']))
            message_item.set('time', item['created'].strftime('%Y%m%d%H%M%S'))

            user_agent = ET.SubElement(message_item, "info")
            user_agent.text = item['user_agent']

            username = ET.SubElement(message_item, "login")
            if item['author__username']:
                username.text = item['author__username']

            self.get_message_node(message_item, item['remote_render'])

        if self.prettify_backend:
            self._prettify(root)

        return ET.tostring(root, 'UTF-8')

    def get_message_node(self, parent_node, content):
        """
        Put content in <message/> node and give to eat to ET, this way all
        content tags are not encoded
        """
        # Old behaviour with tag encoded
        #content = ET.SubElement(message_item, "message")
        #content.text = item['remote_render']
        node_str = u"<message>{content}</message>".format(content=content)
        parent_node.append(ET.fromstring(node_str.encode('utf-8')))

        return parent_node

    def _prettify(self, elem, level=0):
        """Prettify an ElementTree with indent"""
        i = "\n" + level*" "
        if len(elem):
            if not elem.text or not elem.text.strip():
                elem.text = i + " "
            if not elem.tail or not elem.tail.strip():
                elem.tail = i
            for elem in elem:
                self._prettify(elem, level+1)
            if not elem.tail or not elem.tail.strip():
                elem.tail = i
        else:
            if level and (not elem.tail or not elem.tail.strip()):
                elem.tail = i

class RemoteBaseView(LockView):
    """
    Remote base view is not intended to be used as a real view, this is just the base
    implementation view to be inherited with a remote mixin
    """
    @method_decorator(condition(last_modified_func=last_modified_condition))
    def get(self, request, *args, **kwargs):
        messages = self.get_backend()
        if self.http304_if_empty and len(messages) == 0:
            return HttpResponseNotModified(mimetype=self.mimetype)

        backend = self.build_backend(messages)
        return self.patch_response( http.HttpResponse(backend, mimetype=self.mimetype) )

class RemotePlainView(RemotePlainMixin, RemoteBaseView):
    """
    Remote PLAIN TEXT view
    """
    pass

class RemoteJsonView(RemoteJsonMixin, RemoteBaseView):
    """
    Remote JSON view
    """
    pass

class RemoteXmlView(RemoteXmlMixin, RemoteBaseView):
    """
    Remote XML view
    """
    pass

class RemoteCrapXmlView(RemoteXmlView):
    """
    Remote XML view with indent (for some very old client application)
    """
    prettify_backend = True

redpajama_set_name: RedPajamaGithub


Original Muska & Elvis artwork skate decks - Black & White and Metallic gold.
7 layers of Canadian Maple 33.5" x 9", high quality skate deck* hang on your wall for an awesome unique piece, or ride it later.
*Board only, does not include accessories or props.


text:
The Expanse Will Fail if it Emulates Battlestar Galactica: A Mathematical Proof
Posted On : November 27, 2015 Published By : Adam Shaftoe
Let's talk about The Expanse.
Despite what you might think from the title of this post, I enjoyed the pilot episode of The Expanse. I'm happy to see contemporary science fiction trying to repatriate the interplanetary empire trope from the pie-eyed and often crackpot notions established during the Heinlein-era. The Expanse shows humanity's colonization of Mars, Ceres, and presumably the Jovian moons, coming at the cost of our baseline humanity. Being a belter is not some romantic callback to the Jeffersonian frontier; it is a fundamental rejection of terrestrial humanity as a genetically engineered post-human.
Likewise, The Expanse comes by things like gravity in an honest way. Gravity is either the product of celestial mass, simulated through rotation, or a product of constant acceleration. There's a bit of handwavium in terms of how humanity engineered itself to endure high/low gravity, but I'm content to let it slide. Magic gravity juice helps spacers endure 30G emergency accelerations? Okay, sure. I'll bite. It's an easier sell for the near-future than gravity plating a la Star Trek or inertial dampeners a la figuratively every space opera ever.
Cut to, space battles.
The Expanse's first episode gets space battles completely, utterly, and miserably wrong. It gets space battles so wrong I might as well have been watching Star Wars. The likes of Gene Roddenberry's Andromeda gets space battles better than The Expanse. Here comes the math.
In the pilot episode, a shuttle called "Knight" is 50,000km from its parent ship, the Canterbury. When a pirate ship appears, it is at a range of 12,00km from Knight. Put the two together and we have space battle occurring at a maximum range of 62,000km. The opening, and only, fusillade of the battle sees the pirate launch four nuclear-armed torpedoes at the Canterbury. Those torpedoes connect with the Canterbury a mere 60 seconds after launch. And this is the exact moment where I call bullshit.
Do you know how fast those torpedoes would have to be going to connect with a target 62,000km away after only 60 seconds? Very goddamn fast. Almost impossibly fast. Fast enough that the fuel they expend getting up to speed would make directed energy weapons a more cost-effective choice. But I'm getting ahead of myself.
I have no idea about the acceleration and maximum velocity of a torpedo on The Expanse. So let's take an Earth example and do a little extrapolation. The fastest contemporary anti-ship cruise missile I could find on the internet is the experimental BrahMos-II missile. It has a maximum velocity of 2.382km/s or 2382m/s.
For the sake of argument, let's assume the space torpedoes of the 23rd century can accelerate to 10x the speed of the BrahMos-II. In this case, that's 23,820m/s, which is a little more than double the Earth's escape velocity. Frankly, this seems a bit over-powered, but it's 200 years in the future; I'm inclined to be generous.
Bearing this in mind, a torpedo launched from a ship at a velocity of 23,820m/s, assuming it launches at maximum speed – likely not possible but I don't want to over-complicate this by factoring in an acceleration curve – would require 43.38 minutes of flight time before contacting a target 62,000,000m distant. This is also assuming the torpedo flies in a straight line, free of interference from gravity wells. It's also not withstanding any Delta V bonus the torpedo might get from the pirate ship already being in motion. However, such a bonus would be negligible to this problem for reasons that will soon make themselves evident.
So now that science has killed the action buzz on the 60 second torpedo run, we can ask ourselves how fast those torpedoes would have to be going to have a 60 second time on target.
To cover 62,000,000 meters in 60 seconds the torpedoes would need to be travelling at approximately 1,033,333m/s. For context, the speed of light is 299,792,458m/s. Thus, The Expanses' torpedoes would need to be travelling at roughly 0.35% of the speed of light (C) to make the scene congruent to the laws of physics. And before you say that .35% of C is no big deal, consider that the fastest man-made thing ever was NASA's Juno mission that hit 40,233m/s after executing a slingshot around Jupiter. Quite a ways to go before hitting 1,033,333m/s.
Given this ludicrously impossible speed, there's really no need for a nuclear warhead on The Expanses' torpedoes; a suitably dense piece of dog crap travelling at such speeds would have more than enough concussive force to blow up something as flimsy as a pressurized spaceship.
Now to answer the big question: what does all of this have to do with Battlestar Galactica? BSG has many strengths, but it's depiction of warfare in space is cartoonish, at best – yes, I am talking about Ron Moore's BSG. Vipers and Raiders engaged in dogfights driven by Newtonian physics look unbelievably cool. Likewise, fighter pilots make for accessible character archetypes. Both of these elements help make BSG an exciting and engaging piece of television (at least in the first two seasons). As a point of practicality, Vipers and Raiders are a brain dead way to wage space warfare. Recall your Douglas Adams: space is very big. Battlestars and Baseships using kinetic weapons and missiles would inevitably do better to wage war at long-range using math and thrust equations to generate shooting solutions. The ranges depicted in BSG (e.g. single digit kilometers) would result in little more than mutually assured destruction. As an audience, we forgive these things because BSG was concerned with providing spectacular looking space battles amid big political/philosophical questions. If BSG kept it real, then Adama ordering the ship to condition one would instantly cut to a team of junior officers pulling out their scientific calculators.
Unlike BSG, The Expanse is selling itself on the strength of its serious, thoughtful, and practical(ish) approach to telling a story in space. Yet in its inaugural space battle, it is very much taking the Battlestar approach. Such a choice subverts the very aesthetic the series is trying to cultivate. And frankly, I might be willing to give this utter physics fail a pass were it not for the fact that the 60 second battle becomes a setup for a broader plot arc.
The Canterbury's navigator is about to tell something seemingly important to the ship's XO, in command of the Knight, only to have the phone call interrupted when the Canterbury is nuked. Shenanigans!
Even if Knight and Canterbury were right next to each other when the pirate fired her torpedoes at a range of 12,000km, there should have been – working within the model explored in this post – 8.3 minutes of flight time before impact. This would be more than enough time for the navigator to say her piece and for the XO send her a final dick pic. What? He seems the type.
In no uncertain terms, the math of The Expanse's first space battle is a joke. If the series wants to dedicate itself to showing the complexities of life in space, then it needs to abandon the Wing Commander elements of Battlestar Galactica and channel a lot more of The Martian. While I might be content to let the space battle faux pas slide once, frequent occurrences will take the shine off the series' "hard" SF hull plating. Once that happens, they might as well give their starships FTL drives and inertial dampeners.
Posted in: Reviews, TV ReviewsTagged : Hard SF,Science Fiction,SyFy Channel,The Expanse
Game Review: Rebel Galaxy
Trailer Takedown: Captain America: Civil War

redpajama_set_name: RedPajamaCommonCrawl


text:
Johannesburg: shanty city, instant city
John Matshikiza
They say Rome wasn't built in a day – but Johannesburg was. One day, supposedly, there was naked veld, and the next there was a shanty town of tin and canvas shacks full of white men looking for gold. And round the back of the shacks there was another, even poorer shanty town, full of black men recruited to help the white men sift the nuggets out of the earth, and women of all colours who drifted in to serve the unpredictable needs of these men of different colours.
There must have been something here before the gold rush, but it was never recorded in history. So Johannesburg became, and remained, an instant city, growing and being pulled down periodically as the course of the gold seams shifted in one direction or the other, and as the needs of its fickle citizens changed. Beer halls, brothels and bioscopes rapidly outnumbered places of worship. And speaking of places of worship – in the early days, each cathedral, when it was built, was granted a full block of the city's infrastructure to stand on, but Paul Kruger, president of the Transvaal Republic, permitted the Jewish synagogue only half a block, arguing that the Jews only read half of the Bible.
So it has always been a politically and racially charged city. It is said that Johannesburg has been built up and torn down no less than five times since it first appeared on the highveld in 1886. And each time, it has re-emerged even more ugly than it was before.
It has its charms. They say that Johannesburg has the most extensive green belts of any city in the world – grassy parks with swimming pools and jacaranda trees. But returning to that political theme, we have to remind ourselves that it is only in relatively recent times that these beautiful amenities have been available for the recreation of all its citizens, regardless of colour.
Most of the parks have turned into brownish wildernesses now, particularly those around the centre of the city, where the former inhabitants have abandoned their green pastures and moved on to armed townhouse complexes and shopping malls in the north. It is a wealthy city indeed that can simply abandon its tallest buildings and move onwards when the imminent arrival of the Barbarians is announced. It is also a mark of a culture that accepts that its very existence is purely temporary, and the day will always come when it is time for the tribe to move on.
I pity the current generation of Johannesburg architects, a cheerful, youthful, blissfully multiracial crowd, for having inherited the most temporary of cities in which to ply their trade. There is no Venetian Rialto to attach their dreams to. There is no romantic and eminently practical series of canals like those of Amsterdam, which define what is possible and what is not, and give an aesthetic framework for the profile of the city. There are no bold and imaginative New York skyscrapers to compete with, no broody masterpieces like the Prado in Madrid or the sculptured, colourful interventions of a Gaudi in the midst of the serious, maritime boulevards of Barcelona, nor the classical, granite grandeur of the Champs Élysées in Paris.
Johannesburg is not even a sprawling, haphazard African village like Lagos or Bamako, nor does it have the tropical, semi-oriental French charm of a Dakar or an Abidjan, or the fascinating combination of Arab, German and ultra-modern architecture of Dar-es-Salaam.
Johannesburg's young architects don't have a sea, a great river, or a mountain to bow down to in their search for inspiration. They only have what has been left, in haste, by their predecessors, who did not have posterity in mind when they raised and ultimately abandoned this mish-mash of monstrous, decaying buildings.
The creators of Johannesburg's future skylines have to look the issues of a post-apartheid urban South African culture squarely in the eye. Are they going to make intelligent choices, or are they going to follow the trend that has been set in the past, and simply add to Johannesburg's post-industrial chaos. As I have said, I pity them.
We still take for granted, for example, that in South African culture there is black and white, and very few grey areas in between. Hillbrow was white. It is now distinctly black, as is the city centre. The northern suburbs, marginally integrated as they might now be, remain white in their outlook. Go to any upmarket restaurant in Rosebank or Sandton and you will see what I mean.
Soweto and the rest of the city's impoverished satellite townships remain resolutely black, although you will occasionally find the odd Swedish tourist spending a couple of nights there, just for the experience – but decidedly not to stay. The architecture and planning of the South African township were conceived at a time when it was felt that the separation of the races was ordained by God. And now that God has spoken otherwise, what are we to do with this further legacy of our divided past?
The townships are not shrinking or being dissolved into the greater reality of South African urban culture of the Third Millennium. On the contrary, they are growing. A million new township houses have been added to the existing stock by our new Rainbow Government since 1994. Each unit seems to be even tinier than the housing units we grew up in – attracting to themselves the colloquial name of 'vez'inyau, meaning 'show your feet' – meaning that the dwelling is so small that when you sit with your back to the wall at one end of the house, your feet will be sticking out at the other.
Is this an acceptable way of dealing with our urban crisis? What are the alternatives? Should we compound the high-rise nightmare of Hillbrow, which was never designed to contain its present, multicultural, intra-African population, by making this a city of even more inherently dysfunctional 'projects' or 'housing estates' on the New York or London model? Or do we decide to 'de-urbanise' and construct interactive living units in our vast rural hinterland, linked to the all too vitally-needed agricultural revolution that Africa still awaits, in order to be able to get on with its promised industrial and post-industrial revolution?
I suspect that there are vast, and probably overwhelmingly emotional challenges awaiting the architects of a future living environment of a South Africa that most of us will not live to see. The task is not simply to paper over the cracks of an imperfect past. It is rather to conceive and bring into concrete being the living and working environments that will make our dreams of a better future a living possibility.
Whoever is going to take on this challenge, I wish them all the best.


text:
WEHS announces top graduation candidates
by Morgan Howard | May 1, 2019 | Latest
After four years of studies at Wylie East High School, the valedictorian and salutatorian wound up in the same positions at which they started, first and second.
Earning the valedictorian title was Jaxson Hill, while Kellie Meyers is salutatorian. The difference was slight with Hill posting 5.9033 grade point average on a 6.0 scale and Meyers earned a 5.8533.
Hill, 17, is the son of Joe and Jill Hill. He attended Wylie schools from kindergarten through senior year and will head to Harvard University in fall.
"It's obviously a great school," the valedictorian said. "Harvard makes it really affordable to go."
He will study for a bachelor's degree in mechanical engineering degree and a master's in aerospace engineering.
For the full story, see the May 1 issue or subscribe online.


NBC News: After New Zealand shooting, Trump downplayed white nationalist threat. But experts say it's growing.
Posted in Trump News, U.S. GovernmentComments Off on NBC News: After New Zealand shooting, Trump downplayed white nationalist threat. But experts say it's growing.


Sweeten your visit to the Belgian capital on a 2-hour chocolate tasting tour, which includes a tasting of numerous types of Belgian bonbons, including pralines and truffles. An authentic Belgian experience!
Begin your tour from La Grand Place, in the heart of Brussels, and discover the finest and most delicious chocolate stores in Brussels, including Godiva, Neuhaus and Leonidas, among others, all of which are in the city center.
This tour also includes a visit to the elegant Galeries Royales Saint-Hubert and their exquisite chocolate shops. This shopping arcade is home to numerous stores dedicated entirely to this delicatessen.
Delight your palate with a tasting of different flavored Belgian chocolates, like butter creams, nougat, marzipan and truffles. Not to mention the classics like the pure dark chocolate, milk chocolate and white chocolate. There are chocolates to suit all tastes!
Complete the tour by admiring the spectacular chocolate shop display windows, which are all very enticing. Some have even won prizes for their Valentine's, Easter and Christmas window displays. The most impressive shops even have chocolate-made works of art. Absolutely exquisite!
The tour comes to an end at 4:30pm at the Grand Place.
If you want to become a master chef for a day, we recommend you book our Belgian chocolate workshop, where you'll make your own bonbons and pralines.
Tastings at several chocolate shops.


Ogunquit, one of Maine's most-visited resort towns, is both sophisticated and family-friendly. A world-class 3 1/2 mile sandy beach and magnificent coastline including the famed Marginal Way attract visitors from around the globe. For additional information about the area's lodging, dining, attractions, and shopping, visit the Ogunquit Chamber of Commerce's official web site.
Artists discovered Ogunquit's inspirational scenery over a century ago. Ogunquit is a great spot to gallery-hop, and don't miss the Ogunquit Museum of American Art, called "the most beautiful small museum in the world". There are performing arts theaters including the famous Ogunquit Playhouse, a grand old summer-stock theater that features top-name entertainment.
Ogunquit has everything for every type of traveler. Lodging choices range from cozy B&B's to fine hotels, resorts and spas. Shoppers rave about the assortment of boutiques, gifts, and antique shops, and discriminating diners have an abundant selection of fine restaurants to satisfy nearly every taste,including lobster!
Recreation enthusiasts can enjoy deep-sea fishing, whale watching, sailing, sea kayaking, and hiking, or play a round of golf at some of New England's top-rated courses.


Did you know the top goalscorer in the history of Russian Premier League was primarily an attacking midfielder?
Of course you did and you all knew his name was Oleg Veretennikov!
Most of Veretennikov's successes have come with SC Rotor Volgograd, for whom he played in 1992–1999. During that time he scored 143 goals, which makes him the best goalscorer in the Russian Premier League history (the next best goalscorer, Dmitry Loskov, has 109 goals as of 1 January 2007). He has also become the season's top goalscorer three times (in 1995, 1997, and 1998), which is also an unbeaten record. Veretennikov also holds a record for the most goals scored in one season (25 in 1995). He is also one of only two players (along with Victor Panchenko) to score five goals in a league match (on 4 April 1998 against Shinnik).
Can you better these goal scoring feats without playing as a striker?
Load up Russia and any other countries you like and take charge of any side. It can be in the First Division or Premier League but goals for this challenge will only count in the Premier League only.
The challenge will last 9 seasons.
You must sign or use at your chosen club an Russian Attacking Midfielder to become your new "Veretennikov"
The player cannot be green in any attacking position and cannot play in a tactic in a forward role.
Beat and set a new Russian Premier League record of 143+ goals.
Set a new Premier League season record of 25+ goals.
Only Premier League goals count for this challenge.
BONUS - Can you match the record or beat 5 goals in one league match?


text:
namespace el {

class Upvalue {
  int          stack_index_;
  Value        value_;
  Ref<Upvalue> next_;
public:
  Upvalue(void)
    : stack_index_(-1) {
  }

  explicit Upvalue(int stack_index)
    : stack_index_(stack_index) {
  }

  Value Get(Array<Value>& stack) const;
  void Set(Array<Value>& stack, const Value& value);
  void Close(Array<Value>& stack);

  inline int Index(void) const {
    return stack_index_;
  }

  inline bool IsOpen(void) const {
    return (-1 != stack_index_);
  }

  inline Ref<Upvalue> Next(void) const {
    return next_;
  }

  inline void SetNext(Ref<Upvalue> upvalue) {
    next_ = upvalue;
  }
};

}

#endif  // __EL_UPVALUE_HEADER_H__


text:
title: James Lankford, Oklahoma Senator
name: James Lankford
avatar: /ui/img/avatars/James_Lankford.jpg
party: republican
state: oklahoma
type: senator
lasthall: 2015-11-20
phone: (202) 224-5754
never:
twitter: SenatorLankford
---


A blend of Organic Hemp Seed Oil and Organic Grape Seed Oil infused with Full Spectrum Hemp Oil extracted using CO2, winterized, containing 500mg of CBD, along with approx 1-2% CBN, CBC and/or CBG depending on the batch, along with an array of terpenes found in organic, High-CBD Industrial Hemp cultivars grown in the USA. 100% Vegan Ingredients. Organic Peppermint Flavor. 30ml.
View current Lab Results here: https://share.confidentcannabis.com/samples/public/share/9f293af6-e07e-4dc3-b51a-8b5307d2d1ba**Organic Peppermint Flavor is simply added to our batches of Natural (Flavorless) Tincture. The attached 3rd Party COA is on the base batch.


I'm going to show you some Fibonacci retracement and extension Download my free PDF report, A Profitable Fibonacci Still looking for a profitable trading system?
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By the way, it turns out the reason I had assisted hatching was because I had a Day Six transfer. Apparently, they do Assisted Hatching on all day six transfers. Standard Operating Procedure.
So… no dramarama. Nothing particularly wrong with George, other than he was a slow grower who, well, wasn't particularly userful in the end. But that's okay – his siblings weren't particularly useful either, were they? Sorry, George. Not trying to diss you or anything, but you really didn't hold up your end of the bargain, did you?
i think i'd feel better having heard that, too.


PetraCat has the capability to remotely monitor your pressure transient tests (DFIT, PBU or Multi-Rate flowing). Our plug and play system works in conjunction with our surface quartz gauge to deliver high frequency, high resolution pressure/rate data to a secure web portal for viewing, charting or downloading. The system can be easily installed by the operator's personnel or by PetraCat field techs.


McDonald's operates over 36,000 restaurants in 120 countries the whole world over. But the one in Taupo, New Zealand is pretty one-of-a-kind.
Without a doubt, McDonald's is the most well-known fast-food joint in the world. There are over 14,000 of them in the U.S. alone, and over 22,000 more across the globe.
How did the bird get there? Was it part of some sort of viral marketing campaign? The answer is a bit simpler than that, owner Eileen Byrne told the Daily Mail.
So, Mickey D's took airplane lemons and made airplane lemonade, converting the plane's fuselage into a 20-seat dining room. With a slick paint job to better fit the McDonald's colors, the aircraft was ready for business. Considering the plane's first career as a passenger plane for South Pacific Airlines from 1961 to 1966, this might just provide some relaxation to the old bolts and rivets.
Next up, McDonald's food secrets: Find out the secret ingredient behind their addictive fries, and why Coca-Cola tastes better at McDonald's than anywhere else.


text:
Q: JS (CSS) dynamic background image moving I made up a little script that makes a photo background to scroll up/button in same time with page scrolling. The problem is that the background image is scrolling after the page was scrolling (it have a delay).
Question: How may I make to move background image with page scrolling like in this example http://shapebootstrap.net/item/1524936-unika-responsive-one-page-html5-template/live-demo ?
I made a plnkr with my code: https://plnkr.co/edit/e6OCUF4sXSA80Pi6XANj?p=preview

var bgScroll = function(lastScrollTop, elem) {
  lastScrollTop = $(window).scrollTop();
  $(elem).css('transition', 'all .5s');
  $(elem).css('background-position', '0% ' + parseInt(-lastScrollTop / 2) + 'px');
  console.log('lastScrollTop = ' + lastScrollTop);
};
$(window).load(function() {
  var lastST = 0;
  var homeElem = '#add-outer-container';
  $(window).on("scroll", function() {
    bgScroll(lastST, homeElem);
  });
});
html,
body {
  height: 100%;
  margin: 0;
  padding: 0;
  background-color: gray;
}
#add-outer-container {
  width: 100%;
  height: 500px;
  background: #fff url(http://www.gettyimages.pt/gi-resources/images/Homepage/Hero/PT/PT_hero_42_153645159.jpg) no-repeat fixed 0% 0%;
  overflow: hidden;
  color: white;
  border: 1px solid red;
}
<!DOCTYPE html>

  <title>Test</title>

  <link rel="stylesheet" type="text/css" href="app.css"></link>

A: What your are looking for is called parallax effect. There are several libraries which can help you (http://pixelcog.github.io/parallax.js/ for instance). But the simplest solution could something like this:

// Handle the window scroll event
$(window).scroll(function () {
    // Store the distance scrolled
    var scrolled = $(window).scrollTop() + 1;

    // Set the scroll speed
    var scrollSpeed = 0.3;

    // Update the background position
    $("#add-outer-container").css('background-position', '0' + -(scrolled * scrollSpeed) + 'px');
});
body {
    min-height:3000px;
}

#add-outer-container {
    background:url(http://www.gettyimages.pt/gi-resources/images/Homepage/Hero/PT/PT_hero_42_153645159.jpg) no-repeat  fixed;
    width:100%;
    height:500px;
    margin:0 auto;
    border: 1px solid red;
}

A: 1- from JS remove the line: $(elem).css('transition', 'all .5s');
2- in your CSS add to #add-outer-container class:
    transition: all 0.5s;
    transition-timing-function:cubic-bezier(0,0,0.2,1);

redpajama_set_name: RedPajamaStackExchange


Funeralwise invites funeral celebrants and funeral officiants to provide us with information so that we can include it in our Preferred Provider Directory and in the Celebrant-only directory below. To see more information on a particular Celebrant, click on his or her photograph.
Our Funeral Celebrant and Funeral Officiants page offers helpful information on how to work with a celebrant and how to make sure you choose the right officiant.
If you are a funeral celebrant or funeral officiant and would like to be included in our directory, please visit our information for celebrants page.


Print Resources offers on-demand seminars so you can learn more about the services we offer. In Digital Print 101, you'll learn how to design for digital, prepare files, take advantage of variable data capabilities, and save time and money with digital printing. Or, join us for Online Print 101 to see how custom online print stores let you create and order printed materials online. From business cards to newsletters, your finished products are ready to go in 3-5 days.
If you're looking to become a swag superstar, register for Promote 101. You'll discover everything you need to know about promo items. Learn where to find the best new products and create a super promo… within your budget.


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Dr. Manmeet Ahluwalia is a medical oncologist from Cleveland, Ohio and he works at Cleveland Clinic. He got his diploma from Maulana Azad Medical College and did his residency in Internal Medicine at Fairview General Hospital. Dr. Manmeet Ahluwalia did a fellowship in Hematology and Medical Oncology at University at Buffalo. The doctor is certified in Internal Medicine, Hematology, Medical Oncology and has an experience of more than 20 years.
Dr. Manmeet Ahluwalia has contributed to 3 publications.
The prognostic role of tumor volume in the outcome of patients with single brain metastasis after stereotactic radiosurgery.
Bennett, E. E.,Angelov, L.,Vogelbaum, M. A.,Barnett, G. H.,Chao, S. T.,Murphy, E. S.,Yu, J. S.,Suh, J. H.,Jia, X.,Stevens, GHJ.,Ahluwalia, M. S.,Mohammadi, A. M.; World Neurosurg. 2017 May 10.
Murphy, E. S.,Rogacki, K.,Godley, A.,Qi, P.,Reddy, C. A.,Ahluwalia, M. S.,Peereboom, D. M.,Stevens, G. H.,Yu, J. S.,Kotecha, R.,Suh, J. H.,Chao, S. T.; Pract Radiat Oncol. 2017 Jul 02.
Overall survival and the response to radiotherapy among molecular subtypes of breast cancer brain metastases treated with targeted therapies.
Miller, J. A.,Kotecha, R.,Ahluwalia, M. S.,Mohammadi, A. M.,Chao, S. T.,Barnett, G. H.,Murphy, E. S.,Vogelbaum, M. A.,Angelov, L.,Peereboom, D. M.,Suh, J. H.; Cancer. 2017 Feb 14.


In order to understand why a company would not make it a priority to offer a solution to a customers inability to make their payments, we must first understand the industry itself.
These companies are set up to make maximum profits. They will charge over 400% interest on a 2-week loan which is criminal in itself but it goes way deeper than just the initial 2-week loan.
They then offer the option of extending the loan an additional 2 weeks. All the borrower needs to do is pay the original 2-week interest charge and a new filing fee, usually around 15 bucks.
So let's recap so far. The borrower took out a $500.00 loan for 2 weeks with an interest charge of $150.00 and a counter fee of $15.00 bringing the total owed on the borrower's next paycheck to $665.00.
Now the borrower needs to extend the loan because they can not afford to pay it all off at once for fear of bouncing their checking account and worse, so the go ahead and extend the loan.
To extend it, they pay the $150.00 original interest charge and counter fee leaving the original $500.00 balance on the loan.
. Now according to statistics, the average payday loan customer will extend a loan 4 to 6 times before paying it off in full and doing the math say they just extend it for 4 times. That would put the total amount paid by the borrower for borrowing that original $500.00 at $1160.00!
The insanity of payday loan traps!
The above is just the beginning for some as many people who end up in this situation start taking out multiple payday loans to be able to make the payments on the original loan and it just keeps growing and growing out of control until the borrower crashes completely financially.
It is easy to see why they call this the payday loan trap because that is exactly what happens, the borrower gets trapped in payday loan debt.
Simple regulation on the federal level would eliminate all of this craziness but because the industry is making incredible amounts of money they are able to use the lobby system against the people by buying their own ticket through our elected officials and are able to manipulate the laws concerning their product for maximum profits.
A simple law that would not allow any extensions at all, no more than one active loan at any one time, a cap on interest rates per loan and the requirement to pay off the loan in full on the first due date would be all it would require to make these high-interest short term loans work.
We can help anyone who has payday loan debt IN TEXAS OR ANYWHERE ELSE IN THE USA and we can make all the horrors of these traps stop with one quick phone call.
Act now and get these monkeys off your back today and save a ton of money at the same time by letting us deal with these people for you.
We hope this article helps people interested in taking out a payday loan think twice and we also want to help any person who may be trapped in payday loan debt a way out!
Call us today toll-free at 1.877.280.5100 or fill out our free no obligation form to see how we can help you!
I've visited other pages on this site and I found the same thing there as I'm finding here. Great information and a source of help. I have friend in Texas, and elsewhere, who need this type of information. The payday loan trap is something many people are suffering from. This site is not on my must read list. Keep it going.
Point your friend from Texas our way, we would love to help him eliminate his payday loan debt!
I have actually been in this situation years ago when Arizona had payday loans and it is not a good situation to be in. I'm glad you are able to help people get out of it. It is very hard to deal with having so much of your check taken away. It seems like an endless cycle. I started debt consolidation to get out of it.
So glad you got it taken care of. It is a vicious cycle that can cost you a fortune!
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One of the essential zirconium chemicals consumed in industry today is basic zirconium carbonate; basic zirconium carbonate is most suitable as a precursor salt for the preparation of a wide variety of other zirconium chemicals. Consequently, knowledge of the factors that influence the physical and chemical properties of the basic carbonate is of great importance to all manufacturers of basic zirconium carbonates. This study was initiated as a result of the confusion revealed in the literature regarding the reactions involving zirconium(IV) in carbonate media and the actual composition of the basic precipitates formed by zirconium in these carbonate media.

 Zirconium was precipitated from carbonate solutions under various conditions, i.e. with respect to the pH, reagent concentrations and sizes of the countercation present in solution. The effect of the presence of various non- aqueous solvents on the precipitating products was also investigated.

 Attempts were made to characterize the different carbonate precipitates by means of infrared spectroscopy, carbon-hydrogen-nitrogen elemental analysis and thermogravimetric analysis. However, these analytical procedures alone proved to be insufficient to unambiguously characterize the precipitates and it was evident that in addition an exact analysis for the zirconium content of the precipitates was essential.

 After careful consideration, the photometric determination of zirconium using a chromogenic reagent, arsenazo III, was chosen to be most practical. Discrepancies in the literature regarding the interaction between zirconium and arsenazo III, e.g. the stoichiometry of the zirconium-arsenazo III complex, were investigated, and after determining a suitable reaction medium and metakreagent ratio for the reaction medium, a procedure for analysing zirconium with the aid of a calibration curve was suggested. The zirconium content of the carbonate precipitates was determined and these results were then employed in a further attempt to characterize the zirconium carbonates.


text:
//
//  thwSettingsTableViewController.m
//  sabnzbd
//
//  Created by Thomas Hewton-Waters on 2014-04-06.
//  Copyright (c) 2014 thomashw. All rights reserved.
//

#import "thwSettingsTableViewController.h"
#import "constants.h"

#define REQUIRED @"Required"

enum TextFieldTag {
    TextFieldTagIpAddress = 0,
    TextFieldTagPort,
    TextFieldTagApi
};

@implementation thwSettingsTableViewController

- (id)initWithStyle:(UITableViewStyle)style
{
    self = [super initWithStyle:style];
    if (self) {
        // Custom initialization
    }
    return self;
}

- (void)viewDidLoad
{
    [super viewDidLoad];

    [self loadSavedSettings];

    [ipAddressTextField addTarget:self
                           action:@selector(textChangedForTextfield:)
                 forControlEvents:UIControlEventEditingChanged];
    [portTextField addTarget:self
                           action:@selector(textChangedForTextfield:)
                 forControlEvents:UIControlEventEditingChanged];
    [apiTextField addTarget:self
                           action:@selector(textChangedForTextfield:)
                 forControlEvents:UIControlEventEditingChanged];

    // Uncomment the following line to preserve selection between presentations.
    // self.clearsSelectionOnViewWillAppear = NO;

    // Uncomment the following line to display an Edit button in the navigation bar for this view controller.
    // self.navigationItem.rightBarButtonItem = self.editButtonItem;
}

- (void)didReceiveMemoryWarning
{
    [super didReceiveMemoryWarning];
    // Dispose of any resources that can be recreated.
}

- (void)loadSavedSettings
{
    NSString *ipAddress = [[NSUserDefaults standardUserDefaults]
                           objectForKey:USER_DEFAULTS_IP_ADDRESS_KEY];
    NSString *port = [[NSUserDefaults standardUserDefaults]
                      objectForKey:USER_DEFAULTS_PORT_KEY];
    NSString *apiKey = [[NSUserDefaults standardUserDefaults]
                        objectForKey:USER_DEFAULTS_SAB_API_KEY];

    [self setText:ipAddress forTextField:ipAddressTextField];
    [self setText:port forTextField:portTextField];
    [self setText:apiKey forTextField:apiTextField];
}

- (void)setText:(NSString *)text forTextField:(UITextField *)textField
{
    if(text != nil && text.length > 0)
    {
        [textField setText:text];
    }
    else
    {
        [textField setText:REQUIRED];
    }
}

- (void)textChangedForTextfield:(UITextField *)textField
{
    NSInteger tag = textField.tag;
    NSString *text = textField.text;
    NSUserDefaults *userDefaults = [NSUserDefaults standardUserDefaults];

    switch(tag)
    {
        case TextFieldTagIpAddress:
            NSLog(@"Setting IP address to %@", text);
            [userDefaults setObject:text forKey:USER_DEFAULTS_IP_ADDRESS_KEY];
            break;
        case TextFieldTagPort:
            NSLog(@"Setting port to %@", text);
            [userDefaults setObject:text forKey:USER_DEFAULTS_PORT_KEY];
            break;
        case TextFieldTagApi:
            NSLog(@"Setting API key to %@", text);
            [userDefaults setObject:text forKey:USER_DEFAULTS_SAB_API_KEY];
            break;
        default:
            break;
    }

    [userDefaults synchronize];
}

/*
 // Override to support conditional editing of the table view.
 - (BOOL)tableView:(UITableView *)tableView canEditRowAtIndexPath:(NSIndexPath *)indexPath
 {
 // Return NO if you do not want the specified item to be editable.
 return YES;
 }
 */

/*
 // Override to support editing the table view.
 - (void)tableView:(UITableView *)tableView commitEditingStyle:(UITableViewCellEditingStyle)editingStyle forRowAtIndexPath:(NSIndexPath *)indexPath
 {
 if (editingStyle == UITableViewCellEditingStyleDelete) {
 // Delete the row from the data source
 [tableView deleteRowsAtIndexPaths:@[indexPath] withRowAnimation:UITableViewRowAnimationFade];
 } else if (editingStyle == UITableViewCellEditingStyleInsert) {
 // Create a new instance of the appropriate class, insert it into the array, and add a new row to the table view
 }
 }
 */

/*
 // Override to support rearranging the table view.
 - (void)tableView:(UITableView *)tableView moveRowAtIndexPath:(NSIndexPath *)fromIndexPath toIndexPath:(NSIndexPath *)toIndexPath
 {
 }
 */

/*
 // Override to support conditional rearranging of the table view.
 - (BOOL)tableView:(UITableView *)tableView canMoveRowAtIndexPath:(NSIndexPath *)indexPath
 {
 // Return NO if you do not want the item to be re-orderable.
 return YES;
 }
 */

/*
 #pragma mark - Navigation

 // In a storyboard-based application, you will often want to do a little preparation before navigation
 - (void)prepareForSegue:(UIStoryboardSegue *)segue sender:(id)sender
 {
 // Get the new view controller using [segue destinationViewController].
 // Pass the selected object to the new view controller.
 }
 */

@end


This is one of those things that sounds strange to my ear when reading it back.
Do you say one has. . .
Excuse me, but: "This is one of those things that SOUND strange to my ear when reading THEM back."
"Consult an attorney" means asking an attorney for information or advice. "Consult with an attorney" connotes more conversation, more back-and-forth.
The first one's fine. I find the second one a little touchy-feely and *with* just seems unnecessary. The *with* is implied in the definition of the word.
Just "consulted." "Consulted" means you talked to or with an attorney. "With" is unnecessary.
I'm going to consult my attorney, or "I consulted my attorney, are both the best choices. If you don't need a word, eliminate it. In this case, "with" is redundant.
Thanks for the critique on my question, Reph, along with the response.
Also appreciate your help, Carogirl & Jamesaritchie.
The way I had written it to begin with is sounding better to me now that you all have confirmed that is the way to go.


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text:
Morgan Wallen breaks months-long silence after using racial slur: 'I've really worked on myself'
Morgan Wallen performs onstage at Nashville's Music City Center for "The 54th Annual CMA Awards" broadcast on Wednesday, November 11, 2020 in Nashville, Tennessee. (Photo by Terry Wyatt/Getty Images for CMA)
Morgan Wallen claims to have "really worked" on himself over the past several months away from the spotlight after the country music star was caught on camera hurling the N-word in February.
The incident led to Wallen's record label, Big Loud Records, suspending him and conglomerates like iHeartRadio pulling the 27-year-old's music from their stations.
TMZ LIVE: Morgan Wallen racial slur and Lebron James heckler
TMZ's Charles Latibeudiere joins Good Day DC to discuss the top breaking celebrity headlines of the day.
Furthermore, he was also deemed ineligible for the 2021 Academy of Country Music Awards (ACMs) set to take place on Sunday, April 18 in Nashville, Tenn.
Wallen took to social media to issue a handwritten apology, and although much of the scribe centers on the success of his January release, "Dangerous: The Double Album" -- which has enjoyed a chart-topping debut only surpassed by Taylor Swift's version of "Fearless" -- he opened up about the road he's traveled since his world came crashing down.
MORE: Country singer Morgan Wallen 'indefinitely suspended' from record label after racial slur video
While he said he has become a better person because of what went down, Wallen also told his fans that he will be taking a break from performing this summer.
"I have felt a lot of love lately from so many people I haven't gotten to know yet," Wallen began, while thanking his fans who stood beside him. "I know my corner hasn't been the most popular one to stand in recently, but many of you did anyway."
Wallen maintained that he had "made some mistakes" in 2020 and called it a "tough year," likely pointing to his public intoxication arrest in May and disorderly conduct charges in September.
The country star was also scratched as a performer on "Saturday Night Live" after he was spotted partying at a bar without practicing social distancing just days before his scheduled performance.
"I'm figuring those out and I apologized because I was truly sorry and have been making my amends," he wrote, although he didn't specify what he had been trying to correct.
Added Wallen: "I wanted to let you guys know that I've taken a couple months away and feel like I've really worked on myself. I'm proud of the work I've put in and in many ways thankful to have had the time to do it. I've needed this time off."
He went on to write that he always "strives to be better" and that his time away from the spotlight not only helped him identify the ways he wants to improve but also "reminded me that I am still very proud of who I am and the man I am becoming."
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"I found this time away to be very valuable to me in many ways, but I feel like I need a little more of it and therefore will not be performing tour dates this summer," Wallen wrote, before encouraging fans to still attend the scheduled dates of Luke Bryan's tour as well as other festivals.
Billboards supporting Wallen even surfaced in Nashville this week naming him as the fans' choice for Entertainer of the Year.
Wallen pressed that his story is "far from over" and he is eager to give his fans what they "deserve."
"So just know you'll be seeing me sooner than later," he wrote.
In a statement released in early February, the ACM announced they'd barred "Wallen's potential involvement and eligibility for this year's 56th Academy of Country Music Awards cycle."
"The Academy does not condone or support intolerance or behavior that doesn't align with our commitment and dedication to diversity and dedication," the statement continued, promising to "expedite" diversity training available to the "country music artist community."
Finally, the Academy said that they'd be looking into their "awards eligibility and submission process" in order to ensure that the "nominees consistently reflect the Academy's integrity."
After a video of Wallen's incident hit the internet in February, he came out strong in apology for his actions.
"I'm embarrassed and sorry," Wallen said in a statement shared with Fox News.
"I used an unacceptable and inappropriate racial slur that I wish I could take back," he continued. "There are no excuses to use this type of language, ever. I want to sincerely apologize for using the word. I promise to do better."
Fox News' Melissa Roberto contributed to this report.
'Fight Night' at Rikers video published as rally for inmates planned
NYC Restaurant Week 2022


This is the first teaser video promoting January's Celebrity Big Brother 17.
The new series will begin on the Tuesday 5th January 2016 at 9:PM on Channel 5.
Oh my god I am SOOOOOOOO EXCITED!!!!!!!
Oh wait, no I'm not.
Very old school with the music. I like it unfortunately Channel 5 don't have enough faith in people to know that the ads for BB so Marcus is off to shout over it!
Thank god for the mute button.
Anyway looks like this year is a circus theme so expect a load of freaks lol.
So it's basically a re-design of the BB11 design theme?
BB11 theme was all over the shop yes outside the house looked hideous and like a circus tent but inside was the most un BB like house ever it didn't match outside at all.
The titles are probably gonna be pretty similar though.
The inside never really matched the outside design wise anyway.
I loved the inside of the BB11 house though it looked a hell of a lot better on the promo pics than it did on screen.
I like the first one with the words The second one looks rubbish though. That awkward cut-off at the end.
There really good, loving the music.
It also reminds me of the C4 teasers.


Trained in the social history of art, I am a specialist in twentieth-century German painting and politics. My attention is particularly strongly drawn to the ways in which artworks, artists, and artistic institutions have been and continue to be shaped by catastrophic historical events, structural social contradictions, and extreme ideological responses to them.
My publications have focused on German artists such as Ernst Barlach, Max Beckmann, Otto Dix, Paul Klee, and Franz Radziwill, as well as a variety of topics related to art and politics in German art and visual culture between 1900 and 1945. I am currently working on a book-length study of the painter Otto Dix.
On the Challenge of Nazi Art," German Quarterly 90, no. 3 (2017): 366–8.
"Dix Petrified," in: Art and War (German Visual Culture series), ed. Deborah Ascher Barnstone and Barbara McCloskey (Oxford: Peter Lang, 2017), 103-27.
"Paul Mathias Paduas Leda mit dem Schwan, zeitgeschichtlich betrachtet," in: vermacht. verfallen. verdrängt. Kunst und Nationalsozialismus, ed. Christian Fuhrmeister, Monika Hauser-Mair, Felix Steffan, exh. cat. Städtische Galerie Rosenheim (Petersberg: Michael Imhof Verlag, 2017), 55-64.
"Franz Seraph von Lenbach,Portrait of Prince Otto von Bismarck(1884-90)," in:Spotlights: Collected by the Mildred Lane Kemper Art Museum, ed. Sabine Eckmann (St. Louis: Mildred Lane Kemper Art Museum; distributed by the University of Chicago Press, 2016), 91-94. For a preliminary online version of this article go to the Kemper Art Museum's website here.
"Otto Dix's Triptych The War," Kunst und Politik. Jahrbuch der Guernica-Gesellschaft (Special Issue: Icons of 20th-Century Political Art, ed. Andrew Hemingway and Norbert Schneider), vol. 18 (2016): 25-35.
"Radical Art History and the Art of Social Protest in Imperial Germany," in: Protest and Social Reform in German Culture, 1871-1918, ed. Godela Weiss-Sussex and Charlotte Woodford (Munich: Iudicium, 2015), 15-35.
"Erasure and Jewishness in Otto Dix's Portrait of the Lawyer Hugo Simons," in ReNew Marxist Art History, ed. Warren Carter, Barnaby Haran, and Frederic J. Schwartz (London: Art/Books, 2013), 362-81.
"Torture and Masculinity in George Grosz's Interregnum," New German Critique 119, vol. 40, no. 2 (summer 2013): 137-65.
"Ernst Barlach and the Conservative Revolution," German Studies Review 36, no. 2 (2013): 281-305.
"Felixmüller's Failure: Painting and Poverty," inBeyond Glitter and Doom: The Contingency of the Weimar Republic, ed. Jochen Hung, Godela Weiss-Sussex, Geoff Wilkes (Munich: Iudicium, 2012), 176-91.
"Otto Dix' Volkstümlichkeit," in:Das Auge der Welt: Otto Dix und die Neue Sachlichkeit 1920-1945, ed. Nils Büttner and Daniel Spanke, exh. cat. Kunstmuseum Stuttgart (Ostfildern-Ruit: Hatje-Cantz, 2012), 84-97; in English translation as "Otto Dix's Folk Culture," in:Otto Dix and New Objectivity, ed. Nils Büttner and Daniel Spanke , exh. cat. Kunstmuseum Stuttgart (Ostfildern-Ruit: Hatje-Cantz/New York: D.A.P., 2013), 84-97.
"Something New on Nolde, National Socialism, and the SS,"Kunstchronik(Munich) 65 (2012): 265-270.
"Bilder des Erfolges und der Demütigung im Staat Hitlers," "Auslaufendes U-Boot" and "Inselbrücke in Wilhelmshaven," in:Der MalerFranz Radziwill in der Zeit des Nationalsozialismus, ed. Birgit Neumann-Dietzsch and Viola Weigel, exh. cat. Kunsthalle Wilhelmshaven and Franz Radziwill Haus, Dangast (Bielefeld: Kerber Verlag, 2011), 23-28, 68, 80.
Franz Radziwill and the Contradictions of German Art History, 1919-1945, Social History, Popular Culture, and Politics in Germany (Ann Arbor: University of Michigan Press, 2010).
"Otto Dix's PhilosophicalMetropolis," in:Otto Dix, ed. Olaf Peters, exh. cat. Neue Galerie New York and The Montreal Museum of Fine Arts (Munich: Prestel Verlag, 2010), 179-197.
"Otto Dix'sStreetbattleand the Limits of Satire in Düsseldorf, 1928,"Oxford Art Journal32 (2009): 37-65.
"Max Beckmann, Sport, and the Field of Cultural Criticism," inOf Truths Impossible to Put in Words: Max Beckmann Contextualized,ed. Rose-Carol Washton Long and Maria Makela (Frankfurt: Peter Lang, 2009), 199-228.
"Über die Beziehungen zwischen Kunst, Propaganda und Kitsch in Deutschland 1933 bis 1945," in:Kunst und Propaganda, ed. Hans-Jörg Czech and Nikola Doll, exh. cat. Deutsches Historisches Museum, Berlin (Dresden: Sandstein, 2007), 250-7.


text:
venue-type
Acton School of Business
A Business School in Austin that uses a case-based curriculum to help students learn how to learn. Acton also offers a one-year MBA in Enrtrepreneurship. "Our goal is to change the way you look at the world. We push you, challenge you, work you and support you until your view of yourself, business and the world is transformed."
Anderson High School Theatre
School; Theater
Anderson High School is an excellently ranked school in the Austin Independent School District. They have a strong Fine Arts Program including: Theatre Arts, Band, Orchestra, Art, Photography, Dance, & Choir. There are many formal and informal performance opportunities, and the Anderson Theatre Department provides several. As a department they are dedicated to educational theatre as it applies to students' overall knowledge, skills, cultural interest, and discipline. They offer general classes as well as advanced for students with an interest in theatre as a post-high school endeavor.
Armstrong Community Music School
Armstrong Community Music School of Austin Lyric Opera was established in April 2000 and offers a wealth of diverse instruction to students of all ages and skill levels. The School, the first ever to be inaugurated by an opera company, and one of the first community music schools in Texas, offers instruction in classical, jazz, as well as blues, folk and a variety of musical styles from world cultures. In addition, the School provides opera specific outreach for ages kindergarten through adult and musical programs for high-risk youth in housing projects, detention facilities and community centers.
Ballet Austin
Performing Arts Center; School
Founded in 1956 by Barbara Carson, Ballet Austin Academy is the official ballet school of Ballet Austin and is committed to providing the highest quality dance instruction to its students. Currently, the Academy has more than 800 students, making it one of the largest ballet schools in the United States.
City of Austin Small Business Development Program
Business/Company; Community Center; School
The mission of the Small Business Development Program (SBDP) is to foster job creation and support the growth of new and existing businesses by providing capacity building information, tools, and resources. We provide counseling and assistance to small businesses. Our focus, as our name implies, is to develop and empower small businesses in order to strengthen their business capability and survivability. At SBDP, our main objective is to provide assistance and business solutions to emerging small businesses. To achieve this goal, we make our own resources available to small business owners, as well as provide points of contact to outside resources beyond the scope of what we do at SBDP. What are your business needs? I am thinking about a business in Austin I am starting a business in Austin I am running a business in Austin I am expanding a business in Austin I am relocating a business to Austin Share Facebook Twitter Forward Print HTML Top Content Steps to Starting a Business Economic Development Agreement Documents Austin named a finalist for the Intelligent Community o… Running a Business EGRSO Contact Info Phone: 512-974-7800 Fax: 512-974-7740
Creative Side Jewelry Academy of Austin
School; Studio
Want to make your own jewelry? At Creative Side | Jewelry Academy of Austin you can take your jewelry making skills to the next level. Our classes and workshops are taught by metal craftsmen and women ready to assist you in your artistic growth.The mission of the Creative Side Academy of Austin is to assist all those seeking to uncover their own creative skills. Our artist workshops and classes include many techniques in the jewelry making trade, allowing our students to try a little of everything and better identify their underlying passions and skills. If you need a creative outlet or are just wishing to gain new skills, you are in the right place with us.
Dance Institute
We are located in an inviting new facility specifically designed for teaching dance and conveniently set in the hills above Lake Austin in the Four Points area. Some 11,000 square feet of instruction, dressing, and administrative space make Dance Institute the largest of its kind in the nation.
Dougherty Arts Center
Gallery; School; Studio; Theater
Dougherty Arts Center. Discovering local art and artists for thirty years. The DAC offers a variety of visual and performing arts experiences for audiences of all ages. Featuring community theater and gallery space, adult and child classes in visual arts and the most popular summer camps in town. Like us at http://www.facebook.com/artsinparks for free up coming events. The Dougherty Arts Center Theatre is a 3,700 square-foot venue. It stands on the same site once occupied by the Naval and Marine Reserve Center in 1947. In 1978 the space was dedicated to the City of Austin and named for the late Mary Ireland Graves Dougherty. Today the "DAC" offers a variety of visual and performing arts programs. The DAC houses an 1800 square foot gallery, a 150 seat theater, equipped with lighting and sound systems, as well as a box office. Its a specialized art school, studio/lab space and classrooms and several offices of PARD's Cultural Affairs Division. includes a concession area, dressing rooms, showers, a gallery entrance, and an outdoor marquee. The facility works with performing arts organizations such as Onstage Theatre Company, Second Youth Theatre, Different Stages, and Easy Theatre to present quality theatre works to the Austin community. * Julia C. Butridge Gallery * Dougherty Arts Theater * Dougherty Arts School Cultural Affairs Division Administration is officed at the DAC along with the Zilker Hillside Theater and the Trail of Lights Festival.
Freestyle Language Center
Community Center; School
FLC makes foreign language come alive through interactive classes and relevant,entertaining social events for an adult community of learners. We aim to take the institutional stuffiness out of learning and replace it with an enthusiastic exploration of other cultures and languages…Expand and connect your world with us! Our teachers come from variety of intercultural backgrounds, whose language degrees and experiences combine to enrich your language learning experience.
Hyde Park Baptist High School Auditorium
High School Auditorium
Laguna Gloria Austin Museum of Art grounds
Gallery; Historic Building/Landmark; Museum; Park/Garden; School; Studio
Location: 3809 West 35th Street (west of Mopac) Austin, TX 78703 Wireless internet provided for visitors, members, and students of The Art School Visitor information about Austin Your use of Laguna Gloria is limited only by your imagination, and we invite you to join us to view the grounds and consider the possibilities. The site is open to the public every day from 9 am to 4:00pm. Please feel free to tour it yourself or call the Rentals and Events Department to make an appointment at 512.458.8191 extension 255 The Historic Driscoll Villa This Italianate-style villa has been restored to its original splendor. Complete with extensive, historically inspired landscaping, the original living, parlor, dining and garden rooms of the villa are available for use, complete with all the necessities of modern convenience: a catering kitchen, elevator and expanded restroom facilities. The Driscoll Villa makes a spectacular backdrop for your special event. The Solarium Located on the second floor of the Driscoll Villa, the Solarium has windows on all sides, overlooking the grounds of Laguna Gloria. This room makes a perfect spot for luncheons, small meetings and a bride's room.
Lanier High School
Opened in the fall of 1966, Lanier High School is an AISD high school serving the Austin community by providing leadership in academics, athletics, and extracurricular activities.
Ragsdale Center
Concert Hall; Performing Arts Center; Restaurant/Cafe; School
Completed in June of 1999, the Ragsdale Center is the community center of St. Edward's University, serving students, faculty, staff, alumni and guests. The Ragsdsale Center is home to a wide range of services and conveniences including conference rooms, Jones Auditorium and the Mabee Ballrooms. South Congress Market, a 24-hour computer lab, the Meadows Coffeehouse and the Office of Student Life. In addition, the Ragsdale Center schedules a variety of other meeting rooms on the SEU campus and is responsible for coordinating summer conferences.
The Biscuit Brothers Fine Arts Farm
Farm; Performing Arts Center; School
Activities include regular classes, special concerts, camps, and much more, including low-cost or even free opportunities for Title 1 AISD schools and other at-risk members of our community. Directions: Coming from Mopac head west on Hwy 290 towards the "Y" at Oak Hill. Exit immediately on the Monterey Oaks exit and stay on the access road. We will be on the right hand side just before the YMCA. Coming from the "Y" at Oak Hill head east on Hwy 290 and stay to the right on the access road. After you pass the Baseball complex take your first left under the Hwy and cross the access road to our parking lot.
The Contemporary Austin - Laguna Gloria
Historic Building/Landmark; Museum; Park/Garden; School; Studio
Laguna Gloria offers a unique experience of history, art, and nature. Visitors are welcome to explore the sculpture park and special exhibitions as well as the 1916 Italianate-style Driscoll Villa and historic gardens and grounds.
The Institution Theater
The Institution Theater is a fully operational school on Improvisation, Sketch Writing, and Comedic Acting with 8-week programs available for different levels of experience (listed below). In addition, we occasionally offer one-off classes with easier time commitments, taught by special guest instructors and with a more advanced focus of study. There are also the Free Improv Workshops that we host every two months. It's the best and easiest way to get a taste of what improv and The Institution is all about.
The Institution Theater is a venue for improvisation and irreverent comedy established in the Fall of 2007. Since then it has grown as a go-to school to learn improv, stand-up and comedy and what it terms as late-night bad taste theater earning it an Austin Chronicle award for Best Off-Beat Comedy Venue.
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