Fayetteville renters insurance is a great way to protect yourself as a renter in Fayetteville, North Carolina. If you rent a home in or around Fayetteville, you should take a look at getting yourself covered with this versatile and valuable form of insurance. Renters of all ages and stations in life can purchase Fayetteville renters insurance for a fraction of the cost of a homeowners policy. One of the biggest reasons most of us rent is the monthly savings over owning, and renters insurance is no different. To find the very best prices on policies with leading North Carolina providers, take a look online and capitalize on the vast resources available to consumers in the virtual market. Fayetteville renters insurance is an important form of coverage that should not be overlooked.
Fayetteville renters insurance protects all NC renters of all ages and all walks of life. The town and its surrounding area are home to a diverse range of people, who have many different needs and coverage goals. There is no one size fits all solution to Fayetteville renters insurance. The policy you end up with will largely depend on the specifics of your situation. Ideally it will be dictated by your needs. The more you own, the larger the limit of protection in your personal property policy. The larger your family, the bigger your plan will be in most cases.
But the specifics of your plan may also be influenced by your budget. No one would argue that it would be great if money never had to be an issue in decisions like this. If you could decide on Fayetteville renters insurance without concern for price, in all likelihood all of us renters in Fayetteville would have the best policy money can buy. But in the real world, economics dictate a lot of things. Still, it must be noted that the average price of a policy is very inexpensive. In most cases you can get covered for a few hundred dollars a year or somewhere thereabouts. The exact cost of coverage depends on the situation and how much protection you want or need. An average policy might have something like $30,000 in personal property protection and $100,000 in liability coverage.
A college student at Fayetteville State University living off campus in a small apartment might not need that much coverage. The needs of each policy holder are directly related to what they own. If you're a young adult just getting started on your own, likely you do not own all that much. So the cost of a policy might be even lower for you. But do not assume you don't need a lot of Fayetteville renters insurance until you inventory your belongings and have a solid number in mind for their replacement cost. This same advice is appropriate for all insurance consumers.
It is simple enough to determine what you own. Get online on most any major insurer's web site and you can print off a free worksheet to help you assess the value of the things you own. Take down a list and then add up the value. Be sure to pay attention to actual cash value versus full replacement value. ACV coverage is the default for Fayetteville policies. But you can get a Fayetteville renters insurance plan featuring full replacement protection if you wish. Such a plan will cost more but may be worth investing in. Look at the difference in price and protection and decide for yourself.
If you're a single renter living in a small house in town, your needs might be similar to those of the college student. But if you are the head of a large household, you may have to think about increasing your limits of coverage. A large family has a lot of stuff in most cases. Imagine working to raise your family and deal with the costs of day to day living, then having to suddenly replace everything you lost after a fire in your townhouse or condo. The price of a Fayetteville renters insurance premium is well justified by the way it shields you from ever having to face just this type of situation. As a covered renters insurance consumer, you pay a small fee to shift that risk to your provider who takes it on in your stead.
A senior citizen spending retirement here in Fayetteville North Carolina should also think very seriously about getting into a Fayetteville renters insurance plan. As you get older the way you live has to be more and more conservative economically, because you are less able to rebound from substantial losses and get back to where you were. The principle that guides your investment behavior as a senior also points to the wisdom of investing in Fayetteville renters insurance to protect your things as a local retiree. The relatively minimal cost of a plan is a great investment when compared against the critical and comprehensive protection it affords the covered policy holder.
Regardless of where you live in town, your age, or your reason for renting, renters insurance is a solid investment with little short term cost despite its great long term protection. Living in North Carolina can be a great experience, but to promote peace of mind and make sure you are protected to the greatest extent possible, you really ought to get into a Fayetteville renters insurance plan and get covered. Finding renters insurance is easy when you look online. Just doing a keyword search reveals almost limitless options. The sheer volume can be overwhelming. This site helps by giving you a focused list of Fayetteville renters insurance providers to gather quotes from and help you kick off the process.
It has already been said that rental insurance in North Carolina is generally a great value. But even with that being the case, there can still be serious discrepancy between the high and low end of policy prices. Do not just assume that any Fayetteville renters insurance provider will do or that any of them will deliver a good price on a plan for you and your family. Take the time to search out your options. In doing so, you will get to know the market and find out what the going rates are. By putting some quotes together and digging in a little on your insurance search, you'll be able to spot a good deal when you see one, before you ever spend a dollar on a plan.
Renters taking on these policies protect themselves from personal property losses and potentially harmful personal liability issues as well. Anyone in Fayetteville from young collegiate or professionals just getting on their feet, to families trying to stay afloat in a challenging economic environment, to seniors protecting their legacy can benefit from signing on for coverage with a qualified local provider. Reading about this excellent coverage option can only shed so much light on the subject. The best way to learn more is to get into contact with providers and put some quotes together. Fayetteville renters insurance providers are only a few clicks away.


text:
In the news today is a United Airlines employee that on a flight in September 2010 was allegedly physically assaulted by a passenger. The employee told a co-worker about the incident during the flight and her colleague not only avoided telling the captain, which was required, but instead the colleague reported that the aggrieved was the aggressor. The aggrieved employee was demoted and claims now that the animus for the demotion was retaliation against her making a report of the incident and the subsequent alleged racially animated characterization as "aggressive."
While she has witnesses who will back up her story regarding the physical assault, the racial characterization is a critical element of her retaliation claim. Her demotion is clearly sufficient to form the basis of an adverse employment action, however, the connection to that action and her race is tenuous based on the article.

redpajama_set_name: RedPajamaCommonCrawl


Dresses that accentuate red hair?
Which ones would you pick for a redhead?
Pale green, pale blue or pale yellow?
They all would be beautiful. But it depends on the shade of red. Personally I would say the pale yellow would suit a red head best. Most of my red head friends rock the pale yellow when they go out...and they are absolutely stunning!! It's a wonderful color!!
What kind of nightwear do you wear when going to bed? Does/Did Your School Have A Strict Dress Code? Would women act more humble if they didn't have their makeup masks? Is Nicki Minaj attractive? What Is something you appreciate about yourself, Personality or body?
Green all the way. Complementary colors for the win.
The second one... x________x I want it... The color is just right to accentuate red hair.
Something like dark navy. You don't want the dress to distract.
Green, it's the palate opposite of red.
Why be insecure? A Celebration of Hair Not everyone can "love themself" This is How Beauty Standards Differ Around the World What do you think of when you think of the red?
Home > Fashion & Beauty > Dresses that accentuate red hair?


Pinnacle Peak Computer Repair Experts!
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Great service and follow-up too.
Tim did a fantastic job of transferring date from my old and dead computer to my new one. He explained everything thoroughly and showed a real interest in making sure I got everything back the way it was!
Your guys were extremely helpful. My technician was Tim and he was very professional. He explained everything to me, gave me pros and cons, was very thorough in what he was going to do. Followed up with me by phone. Went over everything when I picked it up. I definitely had a great experience working with him and felt like he enjoyed his work and was the right person to be working on my PC.
Come in for a FREE COMPUTER CHECKUP or call 480-513-2500 to arrange a HOUSE CALL or Appointment at your Business to provide the solutions you need!


text:
Prize winner
Designing www.LEGO.com/Shop: Business Issues and Concerns
Reference no. 500-006-1
Subject category: Marketing
Authors: Jan Damsgaard (Aalborg Universitet); Jens Horluck (Aarhus University)
Published in: 2000
Data source: Field research
Topics: e-Commerce; Internet; Brandname; Distribution; Logistics; Marketing; Toys; Consumer protection; Export of data
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This case deals with e-commerce issues for manufacturers of products with a global brand name. Specifically it describes the business issues and concerns of the global toy manufacturer LEGO Company, after it had decided to engage in e-commerce. The LEGO Company had specialised in the design and production of construction toys and like most manufacturers, traditionally sold to middlemen. E-commerce was a radical departure from the traditional mode of business, because the LEGO Company had not sold directly to consumers. The prime motivator for initiating e-commerce was a desire by the LEGO Company to differentiate their new and innovative LEGO Mindstorms from their mainstream products. One way of doing this was to establish sales directly to consumers via the Internet and build an Internet-based community of enthusiastic LEGO mindstorm owners. Once this main decision had been taken, the issue was how to implement the decision and assess its impact on the organisation, its distribution and sales channels. One of the big issues for the LEGO Company was how to convert the wishes of kids playing on the Internet to demands from their parents with actual buying power. This case is open-ended and does not have a set solution, nor does it follow a specific trait. It is designed to engage participants in discussions on issues like global pricing versus traditional segmentation, setting up new distribution channels or keeping the existing channels, how to deal with country specific customs and tax issues, and variations in consumer protection.
The events covered by this case took place in 1998-1999.
Geographical setting
EUR 1.02 Billion
Designing www.LEGO.com/Shop Business Issues and Concerns
Teaching note
Awards, prizes & competitions
2003 - The Case Centre Awards - Category winner
2001 - The Case Centre bestselling case


text:
Fees and Policies
LAW OFFICE OF ROBERT MANSOUR
Be careful when speaking with insurance adjusters
Hello, everyone. This is Robert Mansour, and I want to make a brief video about an issue that comes up all the time - "Should I give a recorded statement to the other party's insurance company?" The answer is generally "no." You have no legal obligation to speak to the adjuster from the other party.
As a matter of fact, it is very curious - they generally call you the day of the accident or even the next day to get a recorded statement from you, and here's why: Generally speaking, they are trying to box you into a story. How do I know that? I used to work for an insurance company as a lawyer for them. They generally want to call you right away because they want to box you into that story. They might say, "Were you hurt in the accident?" You'll say, "Well, I'm kind of sore, but not too bad." Then a few days later, you are really sore. You can hardly move. Your muscles have really tightened up, or you've discovered an injury that you didn't even realize you had on day one.
See, the problem now is you've given the other party a recorded statement, and they have you saying, "I wasn't hurt. I'm fine. Not a big deal." That's why you don't want to give a statement so early on in the process. There's very little, if anything, to be gained by it. In fact, it's usually used against you in the future.
Also, giving a statement to your company, your own company, you want to be careful with that too. You have generally a legal obligation, a contractual obligation, to cooperate with your own insurance company, because otherwise they might pull the coverage from you and say, "Well, you didn't cooperate with us, and therefore we're not going to extend coverage to you." However, there's nothing wrong with telling the adjuster, "Listen, I'm not feeling very well right now. Can I get your name and number and I'll contact you in about a week's time to talk to you at that time?" Nothing unreasonable about that.
Even better, go talk to an experienced personal injury lawyer and say, "Here's what's going on. What do you think I should do? Should I give a statement? Should I not give a statement?"
Then, you also might have the issue of liability. By talking about what happened at the accident so early on, first you might want to see what that police report has to say about everything first. Remember, you don't have a legal obligation to speak to the adjuster from the other party. You may have an obligation to speak to your own adjuster, but either way, be very careful what you say and when you decide to give that statement. You may choose not to give a statement at all. There's nothing wrong with that. Again, you may have to cooperate with your own insurance company, but at the very least, talk to an experienced lawyer first to see what your options are. Thank you very much for watching this brief video.
If you've been injured in a serious car accident, call (661) 414-7100 to see if we might be able to help you.
Basic Speed Law
Case Value
Disc Injuries
Fear Of Driving
Lost Earnings
Meeting With Your Lawyer
Neck Fractures
Psychological Effects
Types Of Accidents
Um Coverage
Value Of Injury Case
by Robert Mansour
Robert Mansour is a personal injury lawyer serving Santa Clarita, Valencia, Saugus, Canyon Country, Newhall, Stevenson Ranch, Castaic and surrounding communities.
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Office hours are Monday through Friday, 9 am to 5 pm. By appointment. If you are trying to reach us after hours or on the weekends, the best way is to use the form on the "Contact" page or simply send an email to info@valencialawyer.com
* The information on this website does not create an attorney/client relationship. It is not legal advice and is presented for general informational purposes only. Always consult with a professional when handling legal matters as the law is constantly changing.
Law Office of Robert M. Mansour, 28212 Kelly Johnson Pkwy #110, Santa Clarita, CA 91355 (661) 414-7100


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text:
Health Problems News
healthproblemsnews.com
HomeDiet & FoodLazy Keto Is the Diet for People Who Find Keto Restrictive
Lazy Keto Is the Diet for People Who Find Keto Restrictive
Sticking to the high-fat ketogenic diet is no easy feat. Say good bye to eating popcorn at the movies, or even sweet potatoes. The extremely low-carb plan eliminates many foods, making it difficult to follow long-term.
A new spinoff called "lazy keto," which as the name implies, requires less work, attempts to make the diet manageable. But followers likely won't experience any of the benefits of the diet and may gain weight or develop keto flu (more on that later).
Before jumping into what lazy keto entails, it's helpful to understand the basics of ketosis.
Standard keto is based on ketosis, a process by which your body burns fat instead of carbohydrates as fuel. Sounds ideal, right?
The problem is that changing your metabolic state isn't easy. Achieving ketosis requires consuming the majority of your calories roughly—65 to 85 percent—in the form of fat, explains Melanie Boehmer, MS, RD, CDN, CISSN, and outpatient dietitian at Lenox Hill Hospital. About 20 percent of your calories are allotted to protein, and no more than 10 percent can come from carbohydrates.
Amounts are individual specific, but most people keep their carbs under 30 grams, says Boehmer. That's the equivalent of about half a medium bagel.
Tracking the amount of protein, fat, and carbs in your meals can be tedious, which is why lazy keto emerged. Using this approach, dieters only monitor carb intake without considering the quantities of fat and protein they're consuming, according to Healthline.
The problem with lazy keto is that it's not actually keto.
"That [lazy keto] would be more of a modified Atkins diet," Liz Weinandy, M.P.H., R.D. at The Ohio State University, tells Men's Health.
Compared to keto, the Atkins diet restricts carb intake depending on weight loss goals. The entire diet isn't centered around maintaining ketosis, which is a complicated process.
"Ketosis is not just a matter of paying attention to your carbohydrates," Boehmer tells Men's Health. Eating too much protein can also prevent you from entering fat-burning mode, she says.
Or you could continually drift in and out of the metabolic state, which makes you susceptible unpleasant side effects–like fatigue and constipation–for longer periods of time. People call this the keto flu, and symptoms pop up in the first few days as your body adjusts to your new way of eating. Normally, the flu subsides within a couple of weeks–if you stay in ketosis.
Lazy keto could lead to weight gain.
Practiced incorrectly, this method may result in an uptick on the scale if don't monitor overall food intake, says Weinandy.
"If you're interested in doing the ketogenic diet, commit to doing the ketogenic diet," says Boehmer. Otherwise, you won't experience the benefits of ketosis, like stable blood sugar levels, says Boehmer.
Keto isn't the only way to lose weight
If traditional keto is too restrictive, that's totally understandable. You can lose weight, increase energy levels, and improve overall health without eliminating food groups. If you're interested in keto but are hesitant to make the jump, speak to a dietitian who can develop a plan that suits your goals and lifestyle but doesn't feel like torture.
"It's very, very hard to follow an extreme diet," says Weinandy.
Tags:diet, find, for, is, Keto, Lazy, people, Restrictive, the, WHO
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Lana Condor Reveals How She Got Her Longest, Healthiest Hair Ever
Health Problems News Copyright © 2021.


text:
by Wolfgang Amadé Mozart
Libretto by Emanuel Schikaneder
Posthumous portrait of W.A. Mozart
by Kraft (1819)
Tamino, a prince Tenor
Papageno, a bird-catcher Baritone
The Queen of the Night Soprano
Pamina, her daughter Soprano
Sarastro, High Priest of Isis Bass
Monostatos, chief slave of the Temple Baritone
Papagena Soprano
Three Ladies Sopranos, Mezzo-Soprano
Three Spirits Treble, Alto, Mezzo-Soprano (boys)
Speaker of the Temple Bass-baritone
Three Priests Tenor, Basses
Two Armored Men Tenor, Bass
Three Slaves Tenors, Bass
Priests, priestesses, slaves, populace, animals.
Scene 1. A wild and desolate forest.
Prince Tamino is lost and being pursued by a giant Serpent. He collapses. Three Ladies appear and kill the monster. They find Tamino attractive and argue over him, then leave to tell the Queen of the Night. Papageno the bird-catcher enters, singing of the joys of his profession and his desire for a wife. Tamino recovers, and Papageno claims to have strangled the Serpent himself. The Three Ladies reappear and put a padlock over his mouth. They show Tamino a portrait of Pamina; he falls in love at first sight. The Queen appears. She tells Tamino that Pamina is her daughter, captured by the evil Sarastro. She convinces Tamino to rescue Pamina, promising him Pamina's hand in return. The Three Ladies give Tamino a Magic Flute and Papageno a set of magic bells to protect them on their journey. Three Spirits will guide them to Sarastro's temple.
Scene 2. A garden in Sarastro's palace.
Sarastro's slave Monostatos is trying to molest Pamina when Papageno appears. Monostatos and Papageno are terrified by each other and flee. But Papageno returns and reassures Pamina that her mother has sent Tamino to help her. She is overjoyed to learn that Tamino loves her, and sympathizes with Papageno's longing for a wife. They leave together.
Scene 3. A grove outside the Temple of Isis and Osiris.
The Three Spirits lead Tamino to Sarastro's temple. Tamino is at first rebuffed, but a Speaker informs him that Sarastro is good, not evil. Tamino plays his Magic Flute to summon Pamina and Papageno; its sounds tame the animals. Finally, Papageno answers with his pipes, and Tamino rushes off to find them.
Scene 4. The courtyard of the Temple.
Papageno and Pamina are making their way toward Tamino when they are captured by Monostatos and his cohorts. Papageno uses his magic bells to enchant his enemies, making them dance away. Sarastro and his entourage approach; Pamina reassures Papageno and tells him that they must tell Sarastro the truth. She confesses to Sarastro that she tried to escape because of Monostatos's attentions. Sarastro is kind, but he cannot grant her freedom, because she needs a man's guidance. Monostatos now enters with Tamino as his prisoner. Tamino and Pamina see each other for the first time and rush into each other's arms, shocking Sarastro's followers. Monostatos seeks a reward, but instead Sarastro punishes him for lusting after Pamina. Sarastro leads Tamino and Papageno to the temple.
Scene 1. The Council Room of the Temple.
Sarastro and his council decide that Tamino and Pamina should marry, and that Tamino should succeed Sarastro as their leader, if he passes the trials. Sarastro prays to Isis and Osiris, asking them to protect Tamino and Pamina.
A priest warns Tamino that this is his last chance to turn back, but Tamino is determined. Papageno is not interested in trials; all he wants is food, wine, and a wife. The priest replies that he will get a wife only if he undergoes the trials. In the first trial, Tamino and Papageno must not speak to anyone. The Three Ladies arrive and try to get them to speak. Papageno cannot resist answering, but Tamino remains steadfast. The priests praise Tamino but scold Papageno, who does not understand why he has to undergo these trials if Sarastro already has a wife for him.
Monostatos approaches the sleeping Pamina and is about to kiss her when the Queen frightens him away. She awakens Pamina and gives her a dagger, ordering her to kill Sarastro. After the Queen leaves, Monostatos tries to blackmail Pamina by threatening to reveal the murder plot, but Sarastro drives him off. Sarastro comforts Pamina.
Scene 4. A hallway in the Temple.
In another trial of silence, an old woman enters and offers Papageno water. She says that she is eighteen years and two minutes old. Papageno at first believes she means eighty, but the old woman insists she is eighteen. Papageno inquires if she has a sweetheart. She replies that she does, and that his name is Papageno. She then disappears. Pamina enters and tries to talk to Tamino, but he refuses to answer. She leaves in despair.
The priests celebrate Tamino's success. Sarastro separates Pamina and Tamino for their final trial.
Papageno, still longing for a wife, plays his magic bells. The old woman reappears and demands that he promise to marry her, or else he will be alone forever. Papageno reluctantly agrees. She is immediately transformed into a pretty girl – Papagena. As Papageno runs to embrace her, the priests frighten her away.
Scene 7. A courtyard in the Temple.
The Three Spirits come upon Pamina trying to kill herself because she thinks Tamino has abandoned her. They promise that she will see him soon.
Scene 8. Outside the Caves of Fire and Water.
Two armored men lead Tamino to his next trials, reciting the credo of Isis that he who overcomes fear will achieve enlightenment. Tamino is reunited with Pamina. They exchange loving words and enter the trials together. They are unharmed by the water and fire thanks to the Magic Flute's protection. The priests laud their success.
Scene 9. A garden within the Temple grounds.
Papageno has given up hope of ever finding Papagena again, so he tries to hang himself. But the Three Spirits remind him of the magic bells. He plays them, and Papagena appears. The happy pair celebrate their union.
Scene 10. The courtyard of the Temple.
Meanwhile, Monostatos, the Queen, and the Ladies attempt to destroy the temple, but are vanquished and cast into eternal darkness. All ends happily when Sarastro unites Tamino and Pamina in marriage. Sarastro's followers praise the couple and give thanks to the gods.


text:
Aleksandar ("Sasja") Petrović (Servisch: Александар (Саша) Петровић) (Parijs, 14 januari 1929 – aldaar, 20 augustus 1994) was een Joegoslavisch filmregisseur en scenarist.

Biografie
Aleksandar "Sasja" Petrović begon Regie te studeren aan de Film- en Televisieschool van de Academie voor Podiumkunsten in Praag, maar als gevolg van de verslechterende politieke betrekkingen tussen Tsjecho-Slowakije en Joegoslavië, was hij gedwongen om zijn studies stop te zetten en terug te keren naar Belgrado. Daar behaalde hij in 1955 het diploma Kunstgeschiedenis aan de Universiteit van Belgrado.

Hij begon zijn carrière als regisseur met het maken van documentaire films. Hij won daarmee verschillende prijzen, maar zijn eerste pogingen om een langspeelfilm te maken werden slecht onthaald. Pas met zijn derde film, met de toepasselijke titel Drie (Tri - 1965), boekte hij succes. De film werd genomineerd voor een Academy Award voor Beste Niet-Engelstalige film.

Petrović werd een van de pioniers van de zogenaamde Joegoslavische nieuwe golf. Met zijn film Ik heb zelfs gelukkige zigeuners ontmoet (Skupljaci perja - 1967), een metaforisch drama over de Roma's, werd hij genomineerd voor de Gouden Palm op het 20e Filmfestival van Cannes, en won hij er de Grand Prix Spécial du Jury. Hij kreeg er tevens zijn tweede nominatie voor een Academy Award voor Beste Niet-Engelstalige film voor.

In 1969 werd Petrović opnieuw genomineerd voor de Gouden Palm op het 22e Filmfestival van Cannes met zijn film Het regent in mijn dorp (Bice skoro propast sveta - 1968), waarin onder meer Annie Girardot meespeelde. Daarvoor haalde hij zijn inspiratie uit de roman Boze geesten van Fjodor Dostojevski. Daarna verfilmde hij nog drie klassiekers uit de wereldliteratuur: De meester en Margarita (Il maestro e Margherita - 1972) van Michail Boelgakov met Ugo Tognazzi en Mimsy Farmer, Groepsfoto met dame (Gruppenbild mit Dame - 1977) van Heinrich Böll met Romy Schneider, en Migraties (Seobe - 1989) van Miloš Crnjanski.

Naast regisseur was Aleksandar Petrović ook een filmtheoreticus. Hij werd Hoogleraar aan de Faculteit voor Dramatische kunsten bij de Universiteit van Belgrado en heeft verscheidene boeken geschreven over film. In 1967 was hij lid van de jury op het 17e Internationaal filmfestival van Berlijn, en in 1971 was hij lid van de jury op het 24e Filmfestival van Cannes.

Filmografie
 1965 – Tri (Drie)
 1967 – Skupljaci perja (Ik heb zelfs gelukkige zigeuners ontmoet)
 1968 – Bice skoro propast sveta (Het regent in mijn dorp)
 1972 – De meester en Margarita (Il maestro e Margherita)
 1977 – Gruppenbild mit Dame (Groepsfoto met dame)
 1989 – Seobe (Migraties)

Nominaties en prijzen
 1966 – Academy Awards – Nominatie voor Beste Niet-Engelstalige film voor Tri
 1967 – 20e Filmfestival van Cannes – Nominatie voor de Gouden Palm voor Skupljaci perja
 1967 – 20e Filmfestival van Cannes – Grand Prix Spécial du Jury voor Skupljaci perja
 1968 – Academy Awards – Nominatie voor Beste Niet-Engelstalige film voor Skupljaci perja
 1969 – 22e Filmfestival van Cannes – Nominatie voor de Gouden Palm voor Bice skoro propast sveta
 1972 - Internationaal filmfestival van Chicago - Zilveren Hugo voor De meester en Margarita
 1972 - Filmfestival van Pula - Drie Gouden Arena's voor De meester en Margarita: Beste Film, Beste Regisseur, Beste Acteur (Bata Živojinović in de rol van Korovjev)

Externe link

Servisch filmregisseur

redpajama_set_name: RedPajamaWikipedia


text:
PHARMACOGNOSTICAL AND PHYTOCHEMICAL INVESTIGATION OF ETHANOLIC EXTRACT ON LEAVES OF OCIMUM BASILICUM LINN
Author(s): Deivam Sundarraju1*, J. Anbu2, R. Reeta3, KL. Senthilkumar4 and Ashwini Anjana5
Ocimum basilicum (Linn.) belongs to the Labiatae family. It is popularly known as "Kali Tulsi" in Hindi and is reported to have good medicinal values in Indian system of medicines. The present study was aimed at pharmacognostic and preliminary phytochemical screening of ethanolic extract on leaves of Ocimum basilicum. The pharmacognostic investigations were carried out in terms of organoleptic, macroscopy, microscopic and physico-chemical parameters including determination of ash values and extractive values. The preliminary phytochemical screening of ethanolic extract on leaves was revealed the presence of various phytoconstituents like alkaloids, flavonoids, phenols, coumarin and tannins, triterpenoids, phytosterols and saponins. The results of the plant Ocimum basilicum which may furnish a basis of judging the authenticity of the plant and also to differentiate the drug from its allied species and detect adulterants.


During the scene in which Mughi frantically uses the Lovely Angel's computer to search for Kei and Yuri, several characters briefly appear on the monitor. These characters are Crusher Joe and his crew, and were also created by Dirty pair creator Haruka Takachiho.
This movie marks the only time in the Dirty Pair series in which they are never shown talking to (or otherwise contacting) their supervisor, Chief Gooley, whom we normally see giving them their assignments.
The song that Yuri shakes her hips to as she and Kei fly out to inspect the destroyed Uldaasian outpost is "Matters To Me" by Poker Face. Even though Poker Face is a Japanese group, they performed the song in English, even for the Japanese version of the film.


text:
package com.fs.commons.analysis.service;

public interface IKeywordsService {

}

redpajama_set_name: RedPajamaGithub


Vincent Bakker has won the 2017 Thesis Prize of the research master's programme Political Science and Public Administration. His study of labour market effects of social investment policies is the crowning achievement of Bakker's work as a MSc student. It also marks the start of his academic career. 'Without doubt, this study can and should be published in a highly-ranked international scientific journal', according to the jury. And we can look forward to more scholarly work from Bakker, given his new position as a PhD candidate at Leiden University's Department of Economics.
Social Investment in European Welfare States ticks all three of the Thesis Prize boxes: originality, a high level of scientific enquiry and the potential for publication. Furthermore, 'the writing is excellent'. Bakker's style is 'clear and elegant'; his presentation is 'extremely professional'. In that light, it is remarkable that Bakker was surprised when he was officially awarded the Prize during the Political Science master's graduation ceremony in the Academy Building on 26 October 2017.
The well deserved praise for Bakker's achievements as a student are likely to be a portent of more scholarly quality to come. Bakker is now a PhD candidate at Leiden University's Department of Economics, where he contributes to the research programme Reform of Social Legislation.


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The Magical Monsoon: a love story in a minor key
by Hiro Boga | Community, Creativity
In honor of my 60th birthday later this month, I share this story, which I wrote a long time ago, celebrating the spirit of love, community, and the wonder that lives in our hearts. Enjoy!
It was a hot, sun-bleached morning in late August, the month of monsoons and sultry rain. But the rains had been delayed by more than two months. The newspapers in the big cities of Bombay, Delhi, Calcutta, were full of stories about people in villages in the hinterland dying of sunstroke, dying of thirst and starvation. Cattle were dying too. Their fly-blown carcasses could be seen from the windows of trains that chugged by fields dry as bone and baked by a merciless sun.
Mud huts lacked their usual covering of cow-dung patties. No rain meant no fodder, which meant no cows; hence no patties, no fuel to cook with. But then there was no food to be cooked anyway, so it didn't much matter. Wells were dry. The earth itself was cracked and parched. Trees withered, their sap shrivelled in the merciless heat. The government of India proclaimed a state of national emergency. It issued communiques on All India Radio exhorting people to tighten their belts and stand in solidarity with the nation's farmers, whose farms were disappearing into dust before their despairing eyes.
An army of astrologers, priests and pundits descended on the capital city of Delhi, intent on making their fortunes by predicting rain in three days, three weeks, or three years. During this time, they said, famine would stalk the land. The gods would have to be propitiated daily, even hourly, by generous offerings of ghee and gold, if the coming of Kaliyuga – the Dark Age – were to be averted by the prayers of these holy men.
In the tiny village of Gopinagar, which stood fragile and exposed in the middle of a broad plain near the bay of Cambay, the village elders had called a meeting to decide what to do. Nine year old Shantha, cradled half-asleep in her father's lap, listened to the arguments swirling around her late into the night. The men's voices, cracked and bleak, hung in the dusty air under the withered tamarind tree which, in better days, had sheltered many village meetings in its green shade. Now it served only as a reminder of the grim fate that awaited them all.
The crops were gone. The cattle were gone. The well was a dusty hole in the ground. The villagers had eaten the seed-grain that was to have been planted after the monsoons. The children were getting sick. Their eyes were yellow, their faces grey. Their bellies had grown round and protruberant. Their hair turned rusty red from starvation.
There was talk of sending a letter to the local Member of Parliament, begging for relief, but to do that someone would have to walk to the nearest town, some eight miles away, where there was a scribe who would write down their words for a small fee. For a further sum, he would take their plea to the post office and ensure that it went out in the mail. But they had no money to pay the scribe, to pay the post-office; and they were all too weak from hunger to walk the required distance. In better times, they would have ridden their bullock-carts into the weekly market in Midnapore, but the bullocks, too, were dead now. The men's voices rose and fell as Shantha drifted off into a tugging dream.
In her dream it was early morning: that brief half-hour when the dew was still on the ground. The air was cool, the sky pearly with the first rays of the sun. Birds chattered in the paddy fields and preened themselves in the muddy waters of the village pond. She dreamed that, at this hour, before the sun had become fierce and burning, a great bird flew overhead. It wheeled like a hawk – a hawk whose wings spanned the whole sky – directly over her parents' hut. Its wings were the colours of a peacock's plumes, rich and glossy. But instead of an "eye" at the precise center of each feather, there was a round, gold coin which glistened and winked in the morning light.
This magical bird uttered no sound. But the great sweep of its wings as it circled the sky made a powerful whoosh-whoosh-whooshing that brought other members of the village to the threshold of their huts to gaze at it, open-mouthed with wonder.
As Shantha dreamed on, the bird circled lower and lower, until the shadow of its wings darkened the interior of her parents' hut.
All around Shantha, people were screaming and crying, prostrating themselves on the ground below this mystic bird, this messenger from the gods. They believed that such a messenger could only be the bringer of bad news. Anything out of the ordinary was, in their experience, to be feared rather than welcomed.
In her dream, Shantha was the only member of the village still standing upright, face turned to the sky, following, with her eyes, the spiralling course of this Garuda, this mythical, magical beast. As she watched, it slowed its course until it was completely still, hovering in mid-air a few yards above her head. Then, with a final rush of its wings it swooped down until its great, hooked beak was directly beside her left ear. She felt the touch of it, cold and hard against her cheek, but she was not afraid.
Even as her mother and brothers shrieked and called on their household gods to come to her aid, Shantha felt a great peace. She felt herself enfolded in a love as supple and infinite as the sky. And she knew, with the certainty of one who is touched by the gods, that this was no ill-fated omen but the great god Vishnu himself: Preserver of that mortal world which was breathed into being by Brahma and which would be destroyed, in its last days, by mighty Shiva, the third face of their holy Trinity.
At that moment, Shantha turned her head and looked into the bird's all-seeing eye. For a long moment, they gazed upon each other, and in that moment much was transmitted, darshan offered and received. And even though Shantha, in her dream, did not know the precise meaning of the knowledge she had thus gained, she knew that the course of her life had been altered forever.
The bird rose vertically, without any visible movement of its wings, and, in another moment, it was gone. Shantha slept on, waking only briefly when her father carried her in his arms back into their hut. The meeting had been adjourned without any decision being made, and the people of the village went to their beds that night wondering how many more nights they had left to live.
The next morning, Shantha woke early; so early that even her mother was still asleep. She felt herself transformed, buoyant as a bird, with a nameless joy which started in the region of her heart and spread its fingers into her belly and out through all her limbs. Into her mind there flashed an image. Before she had time to consider it, she ran out of the hut.
Her skinny legs pumping as fast as they could, she made her way down to the wadi, the dry creek bed beside which their village was nestled. Avoiding the thorn bushes which nipped at her bare feet, she ran down into the middle of the wadi and there she began to dance. She twirled her slender body around and around. She stamped her feet, raising clouds of red dust around her. She wove intricate patterns in the dusty air with her arms and swiveled her head from side to side. Her long black hair, disheveled from sleep, swung to and fro to the beat of an invisible drum. Her mouth was stretched wide in a joyous smile.
A moment later, she began to sing. Shantha sang a song no one had ever heard before, in a language she did not know. Its melody was simple and haunting, with a rising lilt and a pronounced beat. It had the same celebratory joy as the dance she was still dancing, as the dance that was dancing her. She sang on and on as the sun rose in the sky, untiring and energetic as though she had just eaten a bellyful of dal and rice.
Some of the villagers, waking to this joyous sound, dragged themselves down listlessly to the edge of the wadi. They squatted there in small groups, wagging their heads from side to side as they discussed Shantha's peculiar behaviour. The village headman said she was surely possessed by a demon. He was soon surrounded by a group of villagers who agreed with this diagnosis.
One man suggested a fool-proof way to exorcise the Rakshasa who had possessed the child's body. Tie her to a tree and burn tulsi leaves on her belly, he said. No-no, protested another. Draw a circle of protection around her with chunam. Then read the Bhagavad Gita aloud until the demon, unable to bear the power of the holy words, slinks away. The village midwife suggested rubbing Shantha's head with mustard oil, then placing two lemons and a green chilli on her chest to drive away the evil spirit.
This last suggestion was met with derision. Where would they find a lemon, or green chillies? Waah-waah! Such stupidity! An elderly woman maintained the child was merely delirious from thirst and starvation. This hypothesis met with the approval of several other women, who murmured agreement. The village headman sent two of his children to summon Shantha's parents.
Weak from hunger and thirst, Shantha's parents shuffled slowly towards the wadi from their hut. Walking into the circle of their neighbours, they were greeted with much shaking of heads and sober commiseration.
Shantha's father ventured down into the middle of the wadi. He tried to put his arms around his daughter, pleading with her to return to their hut and lie down in its shade. Her eyes remained closed. The expression on her face was ecstatic. The muscles in her throat rippled as she sang. She danced with her head flung far back, her hair flying in the dusty air. Her father commanded her, in his cracked, hoarse voice, to stop, to return to their hut. Shantha remained oblivious. She danced and sang with a single-minded grace and purity of purpose that excluded everything else.
Meanwhile, Shantha's mother, surrounded by the women of the village, maintained an air of resolute unconcern. The women looked at her out of the corners of their eyes. She ignored their whispered warnings, their damp palms which patted her sweating back and arms. Cradling her elbows in her hands, she kept her eyes fixed on her daughter. A small smile came and went on her sun-chapped lips.
Eventually, the women, rebuffed, left her alone. They gossiped and speculated about her alarming lack of concern for her child. One of them called on the gods and rolled her eyes skyward in automatic tribute. A second later, she gasped. Trembling with excitement, unable to speak, she pointed to the sky.
Dark clouds were racing in from the west, obliterating the sun. The women around her cried out, pointed, clapped their hands. Excitement spread like lightning. Within moments, the entire village had forgotten about Shantha and her astonishing behaviour. They were laughing and weeping. They praised Vishnu and embraced each other in a transport of joy. The monsoons had finally arrived.
The first drops of rain were met with jubilant cries and prayers of thanksgiving. The villagers opened their parched mouths and let the blessed rains fall directly down their eager throats. The drops turned into a deluge, and people were squatting on the ground in the rain, allowing its sweet coolness to soak through their clothes and drench them to the skin.
Nobody noticed that Shantha was no longer singing or dancing; that, indeed, Shantha was nowhere to be found among the celebrating throng. Only her mother saw Shantha open her arms joyously towards the sky as though welcoming a friend, or a god. She watched Shantha being pulled upward by an invisible force which bathed her entire body in a blue-green glow before she disappeared, leaving no trace of her passage through the glistening rain.
For many years after, the villagers speculated about what had happened to nine-year-old Shantha in that year of the terrible famine and the magical monsoon. None of them came near the truth, however, because Shantha's mother never spoke to anyone in the village of what she had seen that day. Only in her old age did she break her silence, when her younger sister, Lalita, came to visit her from Midnapore. Late one summer's night, as she sat combing Lalita's hair, she whispered to her the true story of Shantha's disappearance.
For the rest of her life, Shantha's mother placed daily offerings of fruit and flowers at a small shrine she had made near the edge of the wadi, between the roots of a mango tree. The shrine was simple: a flat rock with a natural hollow into which she poured oil and floated a wick. Lighting a lamp for her daughter who had flown away into the sky so that her village and her people might live and prosper.
(How about you? If you have a story about wonders and miracles that have unfolded in your life, or around you, I'd love to hear about it. Let's share our miraculous stories. From the smallest fingertip to the vastest star, they remind us of who we really are.)


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Everything from holographic glitters to creamy satins.
One of the best aspects of summertime beauty (second only to letting your hair air-dry on a daily basis) is letting your creativity run wild when it comes to fun nail polish shades — and this year's latest have us tempted to try them all before Labor Day.
While bright pinks, oranges, and corals are always on-trend for the warmer months, some of this year's chicest options have an entirely different vibe altogether. "This season we're seeing a lot of blues, light grays and light pinks," Paul Labrecque Salon and Spa manicurist Manana Shenanglia tells Teen Vogue. "Sheer pink colors are also very trendy."
Between beach days and far-flung vacations, it's also important to make sure you're doing everything you can to make your mani last as long as possible. The easiest way to achieve exactly that? "Use a gel top coat!" Manana says, who name-checks The Gel Genius Top Coat by Londontown as a go-to. "This will extend the life and shine of the polish and prevent chips and fades. You can also reapply this product at signs of wear."
Scroll through for 20 of our favorite summer nail polish colors — from light pink to sunshine yellow to holographic purple — all of which will be sure to make your summer 2018 nail selfies ("nailfies"?) absolutely pop on your feed.
Cool tones aren't just reserved for cool months. Dip your toes into a purple-y blue like this one for a periwinkle pedicure that will add a fun pop to even the most boring pair of flip flops.
Take a page out of Meghan Markle's book and stick with something neutral on your nails — like this beach chic shade from TenOverTen.
Mermaid hair and makeup are already a thing — why not add nails to the list of under-the-sea beauty trends?
Say "no more" to neutrals, and get loud with a bright shade that toes (... no pun intended) the line between red and orange.
While it isn't exactly a "neutral," an orchid-inspired shade will go with every piece in your summer wardrobe.
Can't decide between pink and red? Try 'em both at once. "Have fun pairing these two warm colors together. stripes and dots of the complimentary hues are playful easy to do, or try an eye-catching, non-traditional french manicure," says côte co-founder Mary Lennon of this fun set.
"Neutral glitter" may sound like an oxymoron, but choosing a cream or taupe with just a hint of shimmer — aka rose gold — will give your fingers and toes a little extra glitz without being over the top.
If bright and light pinks aren't quite your style, try a deep, purple-infused hue instead.
Smack in the middle of the purple and pink spectrum, this glimmering shade is perfect for when you just can't pick. It's basically highlighter, but for your nails, and the subtle shimmer will look really, really pretty reflecting the summer sun.


The gap between online and offline is closing more each day, and working with your spreadsheets in a collaborative atmosphere is not a bad reason to try an online spreadsheet editing tool. We've got 14 choices for you for working with your spreadsheets online; most are free, a few aren't, but there's something here for everyone.
BadBlue.com - Features free personal accounts or paid enterprise class services for sharing Excel spreadsheets over the web.
Blist.com - Still in private beta, our Kristen did a detailed write-up on what you can expect from this new spreadsheet app.
EditGrid.com - You can upload your existing spreadsheets, start new ones, and share & collaborate with friends and colleague.
eXxprssoCorp.com - eXpresso allows you to upload your Excel documents for collaboration, and they even provide a plug-in button for the program to ease the upload.
Google Docs - No list of online spreadsheet apps would be complete without the ubiquitous mention of Google Docs. It feels, and looks, a lot like Microsoft Excel and is easily shareable with others.
InputWebWizard.com - Works your spreadsheets with a database so all of your data is stored in a SQL database. System is set to help you develop web apps, but still seems a bit pricey at $499 a month.
JotSpot - Import and Export with Excel, copy-and-paste from Excel, share the documents, even use hyperlinks and attach files.
Numbler.com - A plain, straightforward, collaborative spreadsheet application.
NumSum.com - A more social spreadsheet app where you can leave your work totally open if you choose and allow others to comment on it.
Peepel.com - Import your Excel spreadsheets, work with multiple documents in the same browser window, get an RSS feed of the latest changes to collaborative documents and more.
Sheetster.com - Has the normal online spreadsheet features such as collaboration, but also offers blog embedding options.
Simple Spreadsheet - An open source project that is part of the Simple Groupware Solutions project. Free to use and 100% web based.
ThinkFreeDocs.com - For now, you can not edit uploaded spreadsheets via the site, but they are working on it. Upload what you have and share it.
Zoho Sheet - Part of the Zoho suite of online office applications, Sheet will allow you to import and export with Excel, collaborate with others, and even do quick "throwaway" sheets if you just need to scratch something out.


#738: Brunch At The Cottage, SD. - The.Vintage.Explorer.
#738: Brunch At The Cottage, SD.
Perfect Sunday Funday: Dining al fresco, cozying up with a hot coffee, chatting with my old roommate, scarfing down, I mean eating, delicious French toast comfort food, surrounded by a real cottage-like atmosphere. YES, please.
Previous Post: #737: Catch A Show At The Indie.
Next Post: #739: Rum Smuggler's Cove.


In her new film, the accomplished Norwegian film director Margreth Olin, shows what it looks like, when children gets to do what they do best: play – without regard to curricula's and other study assignments.
Olin has followed the lives of children in a kindergarten located in a Norwegian forest for one year. The film gives an intimate look at the children, while they're in the midst of shaping themselves. They're surrounded by nature, love and creativity. Had one forgotten how incredible children can be, CHILDHOOD will remind us of just that. At more than a few occasions, we get to witness the explorations and realizations of the children.
Olin stays behind the camera and lets the lives of children unfold without explanations or commentary from the adults on behalf of the children. Despite the observatory approach, the film still manages to become a quiet protest, that sets the stage for a debate about the increasingly focus on the fact that very young children has to acquire academic skills.
More than 40.000 people in the home country of Norway saw the film.
Margreth Olin (born 1970) is a Norwegian film director and scriptwriter. She's behind a long list of award winning films like DEI MJUKE HENDENE (1998) and KROPPEN MIN (2002). She received the Norwegian answer to the Oscar, the Amandapris, for both of those films. She has also directed the fictional film ENGELEN from 2009 with Maria Bonnevie in the lead role. Olin has a capability of causing debate and enthuse critics and attract audiences to the cinema, which she has previously done with the documentary MANNEN FRA SNÅSA (2016), which was shown on Danish TV by the title of MANDEN MED DE MAGISKE HÆNDER.


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Editors' Pick| Sep 23, 2020, 01:20pm EDT |
50 Million Join The 'Creator Economy' Thanks To Platforms Like OnlyFans, YouTube, Etsy And Twitch
Studying culture and the interplay of our technology and psychology
Warhol declared, "In the future, everyone will be world-famous for 15 minutes." But was not predicted was that everyone's "fame" would be experienced simultaneously.
Ask a kid today in the U.S. what they want to be when the grow up. No longer is musician or athlete the top answer. It's a YouTuber—an answer 3x more popular than astronaut.
According to a new report by VC firm SignalFire, today's global Creator Economy is only poised to grow as 50 million people already consider themselves a "Creator." But what's more noteworthy beyond the mass self-reported title and lowered barriers to entry are the financial opportunities that come along with becoming a Creator—a new classification of "small business." Two million global Creators are already making six-figures, with many more amateurs aiming to achieve similar status.
"If you take a traditional job where you're employed by somebody else, you can't actually be yourself," notes Josh Constine, a principal investor and head of content at SignalFire. "In the modern age, self-expression is so integral. We identify ourselves by what we do and how we spend our time." As a Creator, freedom of expression is now met with financial freedom.
Sponsored Influencers, an established breed in this larger movement, are contributing to a global market already worth $8 billion today and projected to grow to $15 billion by 2022 according to Mediakix. But with each #ad or #spon post, Influencers are loosing the trust they are attempting to build. Take the Influencers getting shamed for promoting universities they never attended.
Further, not all Creators today have access to the big brands or the agencies which make such introductions. We're at an inflection point of supply and demand, with more people wanting to create (supply) than brands are willing to financially support (demand). There are two paths. One, niche brands can play, supporting Micro-Influencers and financing more and more people to join the economy, and two, why not just get the audience to pay?
How To Become A Translator
CNN's John Berman: Arizona 'Sham Audit' Proves Donald Trump 'Even Bigger Loser Than The First Time'
'Cut Him Off, Cut Him Off Now!' Newsmax Anchor Ends Interview When Guest Criticizes Donald Trump
What existent Influencers are realizing is that one can support themselves without selling out to the organizations. Newcomer Creators and savvy entrepreneurs are picking up on this opportunity too. Yuanling Yuan, author of SignalFire's Creator Economy report, points out, "Companies have emerged to help Creators earn money by selling products such as premium content, merchandise, books/ebooks, newsletters, or selling services such as fan engagement, coaching, consulting, speaking engagements, etc." Between April and June 2020, shoppers purchased $346 million worth of masks from Etsy, an architect of this economy. Some mask sellers are making literal millions.
Established and emergent business supporting Creators
SignalFire
Take a look at OnlyFans, a platform which allows anyone to sell another product—or arguably service: exclusive, erotic content of themselves for subscribers paying monthly fees. No business plan necessary beyond a body and smartphone. One doesn't need to secure a pay-per-post deal from a yogurt brand to bring in the dough. There are now 450,000 Creators on OnlyFans, many of which are making over $100,000/year by privately engaging with their fans. No matter your preferred type, anyone can engage in a "porn-star" girlfriend experience.
But one doesn't have to take it off or bring in six-figures to be apart of this bourgeoning economy. In addition to the classic Patreon, platforms like Ko-fi and BuyMeaCoffee allow anyone to accept $5 "tips" for any online activity—from their writing or streaming, to streaming while writing. Such tools allow for monetization without constructing paywalls to access the content. It's these small examples that illustrate the point that paid Creators exists on a spectrum of both effort and income. Anyone can get paid, whether that's for a livelihood or for fun. "The beauty of the Creator Academy is that it's open to everyone", says Yuan.
What started with the idea that everyone would want to hear our internal monologue via Tweets has evolved into the idea that everyone wants to subscribe to our podcast via Megaphone, or pay for our newsletter via Substack. Everyone was already a Creator, but we're now waking up to the notion that we can capitalize on our personal brands. Why not take the payday?
We're each knowingly performing in our own Truman Show for one another.
"I think society is waking up to the fact that on your deathbed, you care about what you did, not what you owned," suggests Constine. "People care about how they actually spend their time, and they want to spend it doing what they love, and if they can make that passion into their profession, that's going to drive the biggest long-term fulfillment."
In Chris Anderson's 2006 book, The Long Tail, the thesis goes: products in low demand can collectively make up market share that rivals or even exceeds the blockbusters, but only if distribution is large enough. "For too long we've been suffering the tyranny of lowest-common-denominator fare, subjected to brain-dead summer blockbusters and manufactured pop. Why? Economics. Many of our assumptions about popular taste are actually artifacts of poor supply-and-demand matching—a market response to inefficient distribution."
As Anderson prophetically forecasted, "When the tools of production are available to everyone, everyone becomes a producer." Just 15 years later, these tools are in each of our hands, and our collective Long Tail is beginning to eclipse the mainstream. Small live-streams on Twitch compete with the Oscars and SuperBowl. OnlyFans serves as another important case study. That we're willing to pay for the niche, private and particular, over the free, prevalent and generalized, signals that this Creator Economy may just be able to support itself.
More and more Creators are serving a market which is demanding seemingly "personalized" content. There is, or will soon be, something for each of our tastes. "Content isn't one size fits all anymore. And finally, people of every type of background and demographic can see themselves represented in entertainment and have their interests catered to," Constine declares. The more diverse content that exists, the more likely there will be an audience for it.
YouTube has been planning for this moment all along. No longer are we locked into a fixed number of 100 cable channels. There are now over 30M "channels" on YouTube, uploading 500 hours of content every minute. According to YouTube, channels earning five- and six-figures are growing 40%, while the total number of new channels are also growing at 40%. The Long Tail is getting longer and more lucrative.
With COVID-19 disrupting legacy entertainment production and distribution, the searchlights are switched off. And with more people looking to be a Creator than ever before, and equipped with a new robust tool-stack of platforms to bring in the cash, if there was ever a moment for the little guys, it's right now.
Follow me on Twitter. Check out some of my other work here.


Chris Giattina, the CEO of BLOX, has built a company around the idea of constructing medical facilities that can be easily adapted to changing needs, a concept he shared at HealthSpaces.
"BLOX created a building delivery method called "Design Manufacture Construct" (DMC) - simply, we are teaching a legion of architects how to leverage manufacturing productivity so that construction is simplified. When we can make construction simple, we approach our goal - to make buildings with twice the quality at twice the speed with twice the value - 2x2x2," Giattina said. "If we can do that, we'll make a difference."
First, some background: around 2000, Honda asked Giattina to lead design and construction of a massive project in Alabama - they wanted the first phase opened nine months from that very first conversation. They made all of the company's resources available to him, and six weeks later they broke ground on a 1,000-acre site.
From that project, a group of architects, builders, and engineers got together and began to develop a framework to fix the issues of the industry. They defined their goal as 2x2x2 - they'd make twice the quality with twice the speed for twice the value. "If we could do that, we thought, we would be valuable in a world of clutter," he said.
Giattina presented a case study showing how the nation's largest for-profit hospital company used DMC to standardize its major building components across its diverse and complex portfolio. The outcome was a set of standard modules that could be used on all projects across the US. It was not just a design standard, but a complex manufacturable standard that had supply chain intelligence combined with regulatory and cost controls built-in. The cost per part dropped, but the overall cost of the building was unchanged. The early promise of cost reduction at the part level led them to focus on how to make that promise enure to the overall benefit of a lower building cost - Step Two.
In DMC step one, BLOX was making individual modules that worked with traditional construction. In step two, they wanted to take the building in "chunks" - large structural building components that fit together in the field like giant legos to make buildings.
The "legos" are based on a structural 15x15x60' "Uber module" - a universal structural steel frame that can be stacked 30 stories high. That universal frame can contain a lot of complexity and any number of different modules—X-Ray, CT, patient rooms, Central energy plant, Trauma, labs, cafeterias— all fitting into the Uber Module.
In addition to the Uber Modules, BLOX used technology to skip some of the normal industry processes and was able to go from building information model straight to building fabrication. This improvement came from using a cloud-based platform called WEVR. The software takes raw materials and organizes them with manufacturing and regulatory constraints, then finds the best-in-class manufacturers and makes standard products which are distributed through a web portal. This process utilizes technology that previously hadn't been used by the industry and it has helped scale DMC so that costs can drop.
Throughout step two, Giattina tracked the improvements to the ideas of DMC across a fifteen project case study of Free-Standing Emergency Departments. After completing the first five projects, BLOX saw significant gains in design and manufacturing from project one to five: design time went from over a year to 45 days; manufacturing time went from 100 days to 25 days. Importantly, construction time did not improve from project one to project five (even though the building was being delivered at twice the speed of traditional construction).
Because construction was still the constraint, other items were subordinated to allow a solution to construction to be the focus. BLOX took a two-pronged approach: they used design to take more complexity out of the field; and they worked to improve their construction techniques on those conditions that could never be removed from the field. In a continuous improvement cycle, BLOX repeats this process in five project groups while measuring the results before making the next set of improvements.


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This role is highly recommended for tenacious, ambitious and resilient university graduates who want to put their qualification to use in a fast-paced and financially rewarding environment. Candidates must be well articulated with the ability to converse in a professional manner, IT literate, own keen time-management skills and have high aspirations for themselves and their career.
Recruitment is ultimately a sales job and the graduate can expect to work in a heavily KPI, target driven environment. The fundamentals of the role will involve: business development with potential and existing clients and candidates; sourcing candidates to match the requirements of specific job roles; marketing roles across job boards, social media and face to face meetings; and managing the interview processes from initial contact to the close, ensuring both client and candidate are satisfied with the service provided.
Successful candidates will be provided with full training from experienced recruitment specialists within the company and will be continually developed throughout their career; ensuring that they succeed in the business as well as being an asset to the company. The graduate will eventually become a specialist within their chosen vertical sector of accounting and finance; leading to a specialist consultant's role and developing long-term business partnerships with premium accounting and finance companies.As part of this rapidly growing business, a graduate consultant can realistically expect to be promoted to a senior position by their third year, with OTE up to ??70,000.
Alongside excellent training, our client offers great KPI-driven incentives throughout the year, including the quarterly "Lunch Club" taking top-billers to Michelin Star restaurants, and annual holiday breaks abroad. Incentives are company-orientated and are planned around how the team would like to celebrate! Graduate recruiters will also have opportunities to attend annual company-wide events; a great chance to share good practise, network with other professionals and celebrate success.
and can expect to receive a minimum of 20 days leave p/a plus bank holidays.
Basic salary starts at ??20,000 p/a with the potential to start earning commission from day 1. Trainee graduates can realistically expect to take home ??30,000 OTE in their first year (basic salary plus commission).
For further information on this role, apply today!


We offer guided "hop-on hop-off" bus network. You choose a bus pass, then make your way around its travel route in the time that suits you.
"Hop" off the bus anywhere at anytime, to stay longer, visit friends or even work for a while. Then "hop" back on again. It is that easy! The buses run regularly (check the timetable) and all passes are valid for 12 months from your first day of travel.
If you are short on time, you don't have to ever "hop off" - you can also use your Stray bus pass like a tour and complete the itinerary in its "Minimum Days". With this you will still enjoy outstanding locations and unique attractions around New Zealand, and we have included some non-travel days to break up your journey and allow your driver-guide to rest.
Stray is NOT an A to B bus service! We make stops along the way to show you amazing things, like a beautiful waterfall, short scenic walk, local food tasting or breathtaking view!
All passes are guided. Your Stray driver-guide is a valuable source of kiwi knowledge and can book any activities and accommodation for you. You are also welcome to be independent and do your own thing!
Cost of your accommodation and activities. These can be booked via your driver-guide, often at an exclusive Stray special price!
Have you booked with Stray Travel? Please share your experience and submit your review.


text:
Southern California Breweries Shine At Firestone Walker Invitational
Brett Keating June 9, 2022
After nearly three years without a festival, the beer enthusiasts and brewers attending the Firestone Walker Invitational were ready to get back in action. Case in point: the small but committed line of people outside the Paso Robles Event Center last Saturday at 8am. While they patiently waited for the noon event, I was going to grab a quick morning coffee – making me feel like a real slacker, in the process.
The group was excited with good reason. All attendees bought their tickets over two years ago to the canceled 2020 festival, which was postponed again in 2021. Admission, which is about $100, includes five all-inclusive hours of eating and drinking from some of the world's best breweries, including Garage Project (New Zealand), Trillium Brewing (Boston), and Socal locals Monkish Brewing (Torrance).
Brett Keating
Because of a deeply ingrained allergy to lines, I got there just after the gates opened. The enthusiasm had only grown since the morning. The line wrapped down Riverside Ave., spanning the length of the festival grounds.
In line, there was palpable anticipation, which became downright rapturous excitement as Firestone Walker's Matt Brynildson and Green Cheek Beer Co.'s Evan Price came down the line with pitchers of beer. The two head brewers were pouring Parrotphrase, a grisette that they were uniquely qualified to serve, having collaborated on it together for the official fest beer. Parrotphrase, by the way, was worthy of the excitement – it drank super light on the hot morning, tropically hoppy and very sessionable.
Firestone Walker
Light and drinkable really was a theme for the day. Whereas in past years, hazy IPAs and pastry stouts have dominated the event, this year, subtlety ruled. Nearly every brewery had a version of a crispy beer, from classics like Russian River's STS Pils (Santa Rosa), to new-school favorites like lager specialists Chuckanut (Washington), making their first appearance at the fest. It's no hot take to say this is a harbinger for the future of craft beer as a whole devoting even more love to the crispy beer.
Inside the dusty, sprawling fairgrounds, 60 breweries and more than 30 local Central Coast food vendors were peppered across the field, with long lines at many of the usual suspects .Garage Project, Side Project (St. Louis) and Other Half Brewing (NY), in particular, drew serious attention.
Many of the other most highly sought-after beers were from well-known Southern California favorites. Under one big tent there was commotion around two festival neighbors. Beachwood Brewing (Long Beach) pulled out all the stops with seven beers, including four Blendery barrel sours. Next door, Green Cheek (Orange), surprised the crowd with an announced pouring of Cocohut Pineapple Plus, their piña colada-adjacent milkshake beer that was perfect for the dry, hot day.
Local stunners Highland Park Brewery (Chinatown) drew plenty of well-deserved love – even in a crowded field of excellent crispy beers, their Timbo Pils stood out as perhaps the best. Monkish, of course, drew lines reminiscent of the can release days at their original Torrance location, and personally blew my mind with their impeccable barrel-aged stout Little Twin Stars.
The Bruery (Placentia) also had incredible demand for their four timed Black Tuesday openings throughout the day, and Oceanside locals Bagby Beer's No Hype Helles-style lager was a surprise hit.
Four other Southern California spots were among the 60 total breweries in attendance, Pizza Port (San Diego), The Lost Abbey (San Marcos), Topa Topa (Ventura), and Firestone Walker's Propagator (Venice).
David Walker, co-founder of the host brewery, spent much of the afternoon at Firestone Walker's center booth, pouring beautiful vintages of his barrel-aged beers, and ultimately busting out and uncorking multiple Jeroboams – three-liter bottles named for the biblical king – of Barrelworks sours. Bottle after bottle opened with a satisfying THUNK, before the hordes descended, holding out their glasses for a pour.
A true who's who of the rest of California had a lot of buzz. This included Kern River Brewing Co. (Kernville), who debuted a shockingly easy-drinking double IPA, a near-perfect version of the rarely released Citra made with Nectaron hops. There Does Not Exist (SLO) drew masses – and a very busy taproom the night beforehand, being a short drive away from host Firestone Walker. Urban Roots (Sacramento), Alvarado Street (Salinas), and Sante Adairius (Capitola) all drew big crowds, and Humble Sea (Santa Cruz) was pouring their Keller Penelope pils from a traditional side-pull.
At what is an admittedly very hazy end of the day for me – five hours and perhaps 50 different tastes of beers will do that – the People's Choice winner was crowned. Garage Project took home the honor, stealing the show with some truly impeccable sours. The Wellington, New Zealand, natives were the furthest travelers for the day, and won the award for the second consecutive festival.
JoAnna Edmison
On February 11th, 2020, the Firestone Walker Invitational sold out its 2,500 tickets in ten minutes. Those people scrambling for tickets had no idea that the fest wouldn't happen for another 28 months. It's difficult to set aside the pain the country has gone through since then. But even doing that, the brewing industry faced its own challenges in between: maintaining the health and safety of its workers; closures; shifting local regulations; and a long-overdue industry racial and sexual discrimination reckoning that is still ongoing.
It can be easy to forget, when you're grabbing a shelfie from Trader Joe's, or ordering your fourth beer at your local dive, everyone who has a hand in beer making. The hours that went into brewer's calculations. The assistant brewer negotiating hundreds of pounds of spent grain. The brewery manager, trying to create a safe space for their team.
One especially unique thing about this prestigious festival is that the people who spent hours of sweat and stress making the beer are the ones filling your glass. And after all of the turmoil of the past few years, there was nothing more exciting than seeing 60 breweries put their incredible brewers and beers forward, and letting them take center stage for a day.
New Ownership Takes Over at Yorkshire Square Brewery: Project Barley Brings Fresh Vibes and Live Music to Torrance Pub
King Harbor Brewing Company Closes Its Doors After 8 Years in Redondo Beach
New Brewery Bright Spark Lights Up Historic Ventura Space
Brett Keating | Dec 9, 2022


This entry was posted on maart 30, 2008 at 2:24 pm and is filed under Abel, Vanallesennogwat.	You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.


William Kanengiser. An interview with the guitar virtuoso who is a founding member of the Los Angeles Guitar Quartet. "We realized that as long as you're genuine about what you want to communicate, people will respond to it".
William Kanengeiser is a guitarist and founding member of the Los Angeles Guitar Quartet. The "LA Guitar Quartet" is set to perform a brand new work by Pat Metheny "Road to the Sun", written specifically for the quartet. They will be performing this 6 movement 25 minute piece in three select cities. October 20 - Denver at the University of Denver - Newman Center. October 28 - Santa Barbara at the Lobero Theater. November - New York City at the 92nd St. Y. Pat will be on hand for a pre-performance lecture at the Denver and New York locations. I recently talked with Bill Kanengeiser about his career as a guitarist and educator.
R.V.B. - Hi Bill... this is Robert von Bernewitz from Long Island. How are you today?
B.K. - I'm good. How are you?
R.V.B. - Thank for taking the time out. I just want to let you that I heard about you as I was listening to a local public radio station WSHU, which is Sacred Heart University. I was driving in my car and I said to myself "What is this? This is great". They're one of the few classical music stations that are left. I was very impressed with the piece that I heard, and they mentioned that it was a piece that you wrote with the Los Angeles Guitar Quartet. So classical guitar... how did you become a classical guitar player and not a standard guitar player?
W.K. - I think of myself as an all-around guitarist who just happens to be classically trained. When I was just nine or ten years old, I got very interested in the records my older brothers were playing: The Beatles, James Taylor, Simon and Garfunkel, Joni Mitchell, all featuring a lot of acoustic guitar. I just loved the sound of it. My brother had already tried to play the guitar but failed rather miserably at it; I begged him to let me try it, and finally he let me. Even though I was three years younger than him, I got the hang of it right away. One of the first songs that I was able to learn was "Blackbird" by The Beatles. It has a fingerpicking, classical guitar kind of feel. Later on, when I was taking some informal lessons, my teacher suggested that I try to learn Bach's "Bourrée in E minor". I had never heard of it, but when he played it for me I said: "I know that piece! I want to learn that!" I recognized it because I had heard a Jethro Tull cover of it on one of my brother's albums. So you might say that rock turned me onto Bach.
By high school, my tastes got a little more sophisticated, and I really got into the band Yes. Their guitarist Steve Howe became a hero of mine. He liked to mix in classical/flamenco pieces in with his jazz, country and fusion rock styles. One particular piece from the "Fragile" album was "Mood for a Day". I painstakingly tried to figure it out off the record, almost wearing out the grooves of the LP. After I performed it at a family dinner, one of my cousins, a classically trained pianist, suggested that I should get formal training at the school he attended, the Mannes Preparatory School of Music in Manhattan. Every Saturday I would the bus into Manhattan and take guitar lessons; I also studied music theory and ear training which ended up being invaluable in getting me ready for college.
R.V.B. - You grew up in New Jersey right?
W.K. - Yes, in Livingston, in Essex County. Four years later I was at USC studying with Pepe Romero. Shortly after that, I started playing in a guitar ensemble that would become the LA Guitar Quartet. And by the time I graduated, I had won a couple of international competitions.
R.V.B. - Did you go to Los Angeles because of school?
W.K. –Yes, I decided to leave the East Coast and move to California for college. I would love to say that the main reason was that I wanted to study at USC with the great Spanish virtuoso Pepe Romero. He's one of the greatest teachers and players in the world, and working with him truly changed my life. But the truth is that when I had to choose where to go to college, I didn't even know who Pepe was; I just wanted to go to back to LA. Back when I was seven, my father's job resettled us in the San Fernando Valley, and we lived there until I was eleven. I fell in love with California and always wanted to go back. So a somewhat random decision ended up placing me exactly where I was meant to be.
Another small determining factor I was that I still thought of myself as a jack-of-all-trades player, like my hero Steve Howe. USC was unusual in the fact that it had one of the only studio guitar programs in the country, along with a great classical guitar department. I thought it was really cool that I could study jazz, blues and rock as well as classical. Well when I got to USC, I realized that I may have been competent in those styles, but I was nowhere near as advanced as the studio guitar majors. It did turn out, though, that I was pretty good at classical guitar, so with Pepe's encouragement I stuck with that. But years later, my interest and ability in styles other than strictly classical wound up serving me well; both in solo and LAGQ projects I explored non-classical influences which helped me stand out a bit from the crowd of other classical guys. LAGQ actually won a Grammy for an album called "Guitar Hero's"... where we paid tribute to players who inspired us when we were young. Not all of them were classical... Chet Atkins... Jimi Hendrix... Pat Metheny… Frank Zappa. Things came full circle for me with my tribute to Steve Howe: an arrangement of "Mood for a Day" for LAGQ in a true flamenco style, complete with dancers clapping and stomping. I think it's interesting that I left studio guitar to become a classical guitarist, and years later I re-visited those styles with the technique and the discipline of classical.
R.V.B. - I can hear the different influences in your music. It's great to have that balance and versatility. It kind of gives you your own voice.
W.K. - There are a lot of wonderful and amazing virtuosos in our field, but not all of them can imitate a blues or a jazz player when it calls for it musically. I love imitating all these other styles on classical guitar.
R.V.B. - There's a lot of talent there. When you played these competitions in your middle period, were you confident going into them? You won a couple of them right?
W.K. - I did. The first one was in 1981. I had just graduated with my Bachelors degree when I entered the Toronto Competition. I had never been in a major international competition before, so I had no idea where I stood or what to expect. I was insanely nervous, but somehow I played well when it counted. I felt good about the performance and luckily the judges liked what I did. It was an important moment for me, kind of putting me on the map, but it didn't really make me an overnight success either. The real prize I got from it was that it forced me to practice like I never had in my life. It taught me to be really disciplined... really focused... and to have a thicker skin on stage. In a way, it taught me how to become a professional.
R.V.B. - You earned your Bachelor's and then you went back for your Master's?
W.K. - Yes. Then very fortunately for me, just when I finished my masters, a small teaching position opened up at USC. It was a little odd going from a student one year to being on the faculty the next year. I was very lucky and I've been there ever since. At the beginning of next school year, in 2017, it will be my 40th consecutive year at USC.
R.V.B. - Wow! You look like a young guy. (Haha) Now you networked yourself in to the teaching field that way... how did you network yourself into the professional world of a performing and recording musician?
W.K. - I would say that guitarists, and classical guitarists in particular, have to be entrepreneurs. In order to develop a career, you don't look in the paper for "Classical Guitarists Wanted" ads. You have to figure out what you have to offer and what it is that people want... how to present yourself... how to get and capitalize on opportunities. So the quartet got some early success; we were a little bit unusual and somehow people gravitated toward it. That opened doors for us that may have not been opened right away. I was also lucky that I won a Gold Medal in the 1987 Concert Artist Guild Competition. Its open to all instrumentalists, not just guitarists. The prize for CAG really was a career booster, in that they become my booking manager. I ended up getting quite a lot of concerts and touring.
R.V.B. - I gather you met the members of the LA Quartet at school?
W.K. - We were all drawn to USC because of Pepe Romero. As I said, he's one of the most famous touring classical guitarists and a legendary teacher. There was quite a group of super-talented players at USC in the late 70's. It started in a pretty innocent way. We were enrolled in a guitar ensemble class, a class that I teach now at USC. Pepe and our other professor James Smith put the four of us together, and soon we were playing gigs around town. We did an educational tour of Mexico, played at schools and libraries around LA, and wound up getting a local manager. We recorded a record and performed a recital at the Andres Segovia Masterclass at USC in 1981. Our name started getting around in the guitar world, and we were lucky to have some established players help get our career going. Do you know the Assad brothers?
R.V.B. - Sure... I've heard of them. They record for Nonesuch, right?
W.K. – That's them They're originally from Brazil, and they're arguably the greatest guitar duo in the world. They tour with Yo-Yo Ma and they are amazing. We played for them in those early days when we were still students, and they took us under their wings. Odair Assad's wife ran a guitar recording label (GHA Records), and she had a small management company in Europe. That's how we got our first concert tours in Europe. With their help, we became pretty well known in Europe. It was a combination of self-hustling, management help, and friends who would put in good words for us. A sequence of small lucky breaks and opportunities that we were able to capitalize on, and thirty-six years later, we're still doing it!
R.V.B. - You continued to showcase variety through your career, as you worked with a lot of different orchestras and ensembles. How do you enjoy performing with different kinds of groups?
W.K. - The quartet and the solo work makes up the lion's share of what I do, but I also love playing chamber music and soloing with orchestras. I had a really fun experience earlier this year: I performed with an orchestra from Riverside, California, playing some Baroque concertos by Vivaldi. The conductor asked if I would be willing conduct the orchestra myself while I played the guitar part. Since these concerti are a bit more like chamber pieces than a traditional concerto like the Aranjuez, it made sense. It was a blast for me. I was giving them cues and cutoffs, communicating with them while I was playing. Since I have lots of experience doing that with the quartet it felt very natural, and actually made me more relaxed.
R.V.B. - I know that a musician should treat every gig like they're playing in Madison Square Garden or Carnegie Hall... are there any favorite gigs that you had?
W.K. – Wow, there are so many! Doing the Boston at Pops on PBS, playing at the Aranjuez Castle in Spain for Rodrigo's 100th birthday celebration….We did play at the Hollywood Bowl a couple of times, which was quite a thrill. Looking up and seeing 17,000 people is a hoot, even though most of them are buzzed on Chardonnay.
R.V.B. – Any new projects in the pipeline?
W.K. – Yes, one we're really excited about right now. LAGQ is about to do the world premiere of a major new piece written for us by Pat Metheny. It's called "Road to the Sun", and it's quite unprecedented in its scope and style. We met Pat in 2013 at a guitar festival in Montana. The last thing we expected one of our "guitar heroes" to say was "I'd like to write something for you guys". It took a while for him to carve out the time in his crazy touring schedule, but he finished it at the end of 2015. He told us that he was planning to write a fairly short piece,maybe 10 or 12 minutes. But when he started writing it, he said "it just poured out of me". It ended up being a 25-minute, 6-movement suite, with almost symphonic proportions. It's such an honor to have a living legend write something just for us; even the parts are named "Bill", "John", "Matt" and "Scott", not just Guitar 1,2,3,&4. It has some pretty serious extended harmonies and moody textures, but also some of his "Patented" Metheny grooves and melodies. When he was in LA recently we had the chance to work together, to show him what we were doing with it and get his advice on it. So cool for us! We're premiering it at the University of Denver on October 20th, and then again at the Lobero Theater in Santa Barbara on October 28th, and then at the 92nd Street Y in New York City on November 5. He's going to be in the audience in Denver and New York, and we'll do a pre-concert lecture with him.
R.V.B. - Tell me a little about your European visits. How do you enjoy traveling abroad and performing?
W.K. –We've been pretty lucky that we've had the chance to play overseas quite a bit. Over the years we've hit most of Europe, especially Spain, France, Italy, the UK, but we seem to have a particularly dedicated audience in Germany. We've played more concerts there than any other country except the U.S.. There's a big guitar scene there, especially with some wonderful guitar festivals that we're regulars at. This past year we went a little off the beaten path, going to Lithuania, Latvia, and the Czech Republic. Next year we're going to do a little tour of Scandinavia. Every once in a while it works out that you can combine business and pleasure. This past summer we had a one-week gap between gigs in Germany and Ireland. I took my wife along and we squeezed in a little Irish holiday. It's great when you can do that. Sometimes we go to places that sound so wonderful and exotic to visit, but when we get there we have no free time to enjoy it. The quartet once did a10-day of Hawaii... sounds great, right? We basically saw airport terminals, hotel lobbies and green rooms the whole time. I'm not complaining though. It's a joy to share your music, and meet people from different cultures, in different parts of the world. Hopefully we represent something positive that this country is producing.
R.V.B. -You mentioned Spain... was there a little added extra pressure because of the history of the guitar there?
W.K. - I think we used to feel that a long time ago. Our audiences are pretty eclectic now. We used to be nervous about playing Bach in Germany. We thought: "who are we to tell them how it's supposed to go?" But it seems that we've been accepted by audiences all over the world. We realized that as long as you're genuine about what you want to communicate, people will respond to it. Part of it is the way we program our concerts. We try to have an eclectic mix of music: we figure if someone didn't like the piece we just played, they'll might like the next one.
R.V.B. - I saw the video of you on YouTube (https://www.youtube.com/watch?v=PKKCr6Hi4gQ ) mimicking other classical guitar players. It was pretty funny and you seemed to have their mannerisms down. Have you always been a showbiz type of guy?
W.K. –I've always enjoyed that kind of comedic aspect. I never had any formal training or experience as an actor or comedian, but I've always liked to kid around and imitate people. It's something I do for fun. On that video, I was doing a show at a classical guitar festival, so the audience was pretty familiar with the different personalities I was imitating. I suspect that that very few people outside of the classical guitar world would know most of these people, but I've been told that it's still kind of funny even if you don't know them.
R.V.B. - Do you teach students privately?
W.K. - Yes, but not so much these days. Most of my time is devoted to my work at the university at USC. I have a full load: I teach private lessons, I conduct the Guitar Orchestra, I coach guitar ensembles and I have a performance class. Next semester I'm starting a new course for general music majors called "Musician's Health and Wellness." It's a more scientific approach to the body, and a holistic approach to how we practice and cope with performance stress. Hopefully it will be helpful for young college music students who are just learning to deal with the issues of being a musician. If students understand the importance of things like good posture, taking breaks, hearing protection, etc., it can not only help them avoid injury but it can also improve their performance. I've been doing a good deal of research on it and I've amassed a sizable library of books in this field. I'm looking forward to sharing what I've learned with students.
R.V.B. - What are you most proud of about your accomplishments up to this point?
W.K. - I feel happy that I've been able to balance my life so that I can make people happy as a performer, I can share knowledge with students, and at the same time I've been a good father, and a good husband.
R.V.B. - That's awesome. All those things are important. Thank you for taking this time to talk with me.


text:
Q: How to iterate over an array in overlapping groups of n elements? Say you have this array:
arr = w|one two three|

How can I iterate over it by having two consecutive elements as block arguments like this:
1st cycle: |nil, 'one'|
2nd cycle: |'one', 'two'|
3rd cycle: |'two', 'three'|

Sofar I came only with this:
arr.each_index { |i| [i - 1 < 0 ? nil: arr[i - 1], arr[i]] }

Any better solutions? Is there something like each(n)?

A: You can add nil as the first element of your arr and use Enumerable#each_cons method:
arr.unshift(nil).each_cons(2).map { |first, second| [first, second] }
# => [[nil, "one"], ["one", "two"], ["two", "three"]]

(I'm using map here to show what exactly is returned on each iteration)

A: > [1, 2, 3, 4, 5, 6, 7, 8, 9].each_cons(2).to_a
# => [[1, 2], [2, 3], [3, 4], [4, 5], [5, 6], [6, 7], [7, 8], [8, 9]]

redpajama_set_name: RedPajamaStackExchange


i'm really happy with how it turned out..
Meet woody.... my punch art pal he was so fun to make!
You have no idea how impressed I am. Can see how the alien was done but might need a few pointers on Woody. And yes I am soooo going to CASE it for Alex's birthday in Jan.
eeeeek!!!! How adorable!!!! I'm much, much older than your son...keke...and I think it's FABULOUS.
Get OUT!!!! That is totally amazing! Abi, this is way too cute. You did a wonderful job on Woody. So, so cool!!!!
You are sooooo clever. Only a week to go till Convention ! See you there.
This is awesome, Abi! My son loved Toy Story for years. It made me cry to see Toy Story 3 when Andy grows up and packs his toys away, it reminded my of my own son and how quickly they grow up on us. I'll have to show this to him, he will love your card too.