text:
THE GODS OF BLOOD
On the third planet, between the last two great ice ages, the quest continues.
Raven, the last Sword Lord of Ghedda pursues his dream of leading a new military empire. He journeys from the southward drifting continent of Tar-Tika to the land of the Maytecs, where a blood stained pyramid is the scene of brutal human sacrifice.
Raven is pursued in turn by Kananda and Zela who must bring him back to Karakhor. Only Raven can help to repair and fly the damaged spaceship he has abandoned. Only with Raven's help can the last life-bearing planet in the solar system be saved from total annihilation.
But in the jungle city of Chaxal Raven must first face a cruel and terrible enemy, an astral adept who is the reincarnation of a historical monster.
The great pyramid of Kukulcan rose high above the surrounding city of Chaxal and the outlying blanket of thick green jungle. At this height, above the bright red and gold rooftops of temples and palaces and the radiating rings of fine noble houses and the lesser dwellings of the warriors and artisans, the air should have been sweet and clean, but it was not. Instead there was the reek of death, the stench of sweat and fear and most of all of blood; old blood, young blood and new blood. The ultimate temple platform and the sacrificial altar that crowned the great pyramid was a place of copious blood-letting.
The man they knew as Chac-Mouel stood impassive at the head of the stained, black granite slab which formed the altar. His flowing robes of red and black, the colours of blood and death, failed to hide his tall, skeletally thin shape, which was a direct contrast to the short, squat bodies of the priests and their patiently waiting assistants. He wore a high serpent headdress over a domed skull of down-like short white hair. The serpent was fashioned from gold with black and silver scales. Its eyes were two vivid red rubies which seemed to glow with an inner fire. The man's skin colour was grey-white, another contrast to the red-brown bodies of his companions. His eyes were cold grey with large black pupils, like those of a cruel predatory bird.
Chac-Mouel was different from the native Maytecs who populated this central part of the long, tight-waist continent of Mer-Rika. He was not from Earth. Spiritually and psychologically he was rooted in the past of what had once been the fifth planet in this solar system. His biological origins were in the stars, in the constellation of Orion. He was an alien even among aliens.
He was flanked by the two High Priests of the Jaguar and Eagle warrior castes. Calacmu, the Jaguar Priest-King, Lord of the Shadows and Night, held the sacrificial knife, an ancient artifact with a handle wrapped in thin coils of golden wire and encrusted with precious stones. The crude blade was shaped from razor sharp black obsidian. It was a heavy tool, designed to smash as much as cut its way into a victim's chest.
Calacmu wore a black-mottled cloak made from the flayed skins of seven of the big jungle cats. The empty head of one of the beasts formed a cap with yellow eyes and snarling jaws above his brow. His face was hidden behind a close jaguar face mask of polished black jade where only his eyes gleamed through the eye-slit holes.
Tuluc, the warrior priest of the Eagles, Lord of the Sun and Sky, wore a rainbow cloak of multi-coloured feathers, gathered from all the birds of the forest and the far distant mountains. They included tribute from every city in the lands between north and south Mer-Rika. On his broad chest there hung a long gold pendant that portrayed his Eagle God, the Sun God, the Serpent God, the Jaguar God and the Rain God in descending order. Above his head rose a mask of black and white eagle feathers. His dark cold face looked out from its open beak of hooked yellow gold. His expression was sour because on this day he did not hold the sacrificial knife.
Behind the motionless triad of priests there stood a single priestess. Her name was Tayasal and she represented the Serpent Goddess. Her robes and head-dress were similar to those of Chac-Mouel, although slightly less resplendent. The Serpent priest was the embodiment of Kukulcan, the Creator God. The Serpent Woman was his consort. The relationship between this current pair was not purely symbolic.
Four assistants completed their retinue; four strong young men in simple white robes, their hands and faces were painted a bright vermillion red. The robes were pure and spotless for the first victim had yet to be hauled to the top of the pyramid.
There was one more presence on top of the pyramid. Inside a stout wooden cage a live jaguar restlessly twisted and turned. There was no room to pace and prowl but the animal was constantly on the move. It was a strong muscled adult male, sleek and well fed, but frustrated and angry. Its eyes were hot fire, glowering at the Jaguar priest as though it recognized the dangling pelts of its slain brothers and desired only vengeance.
Sunrise, sunset and high noon were the most precipitous times for the ritual of human sacrifice, the key points in the daily passage of the highest god. Blood, specifically human blood, was necessary to petition the gods, to welcome the Sun God at daybreak, to honor him at his highest point, and to petition for his return before he disappeared below the edge of the world at the end of the day.
The sun now was at its zenith, a scorching orb in a brilliant blue sky. The priests were hot in their heavy robes but they showed no sign. They waited, hearing the first sounds of movement from the steep flight of steps that led down to the great plaza below.
The plaza was crowded, almost the entire population of Chaxal had gathered to witness the daily ritual. At the base of the pyramid a line of bound prisoners stood with their hands tied behind their backs, each one wearing a simple white shift over his loincloth. Their feet and heads were bare. A few stood straight-backed and proud, the rest slumped in various stages of resignation and dejection. They had been captured in a Jaguar clan raid into the territories of a neighboring city. Each of them was flanked by two armed warriors of the Jaguars.
The first prisoner was already half way up the flight of steep brick steps which cut through the nine terraces of the pyramid. Nine was the believed number of layers of the underworld, and thirteen layers of the heavens were believed to ascend invisible above them. The prisoner on the steps was a nobleman who climbed between his two guards with slow dignity and his head held high. A third guard followed behind with an obsidian blade spear but he was not needed. The captives were sacrificed in order of rank and usually only the last few in line would have to be dragged or pushed up to meet their fate.
There was a hushed silence in and around the plaza. The vendors who sold sugared fruits and drinks, corn cakes and roast meats of dubious origin, were briefly silent. The great roar of approval would go up when a bleeding heart was presented, held aloft for all to see, and the corpse was thrown down the side of the pyramid.
The prisoner reached the top level of the temple and stood between carved square columns that were richly decorated with depictions of the gods. The columns supported no roof. The temple was open to the sky. The sun was directly overhead, sending down hammer-blows of heat. The prisoner stared into the grim visages of Serpent, Jaguar and Eagle. His body trembled slightly. He was a young man of prime fighting age but he did not attempt to resist. By his code it would have been shameful to do so.
The three guards turned and began their descent of the pyramid. The four attendants moved forward and quickly stripped the prisoner of his single garment, leaving him naked but for a brief loincloth. They turned him with his back to the altar and carried him swiftly backward by his arms and legs. The prisoner closed his eyes and grimaced as his shoulders thumped down on the hard black granite. The attendants knelt two on either side of the altar, pulling hard on the four spread limbs and crouching in positions of supplication.
Calacmu moved forward, gripped the thick black blade knife in both hands and raised it above his head. His eyes blazed, his lips compressed. He plunged down with all his strength, hacking and twisting to open the shattered chest.
The prisoner died without a sound except for the crunching of his broken sternum. The Jaguar priest turned and handed the bloodied knife to the Serpent priestess. Tayasal cleaned it reverently with a cloth, ready for the next victim. Calacmu pushed both hands into the chest cavity he had created and tore out the still beating heart. The red blood sprayed and spilled and ran over the still warm corpse and the altar table.
The heart had one more duty before it was displayed to the crowd. Chac-Mouel stepped back from the head of the altar and away from the square of white cloth that had been laid ready upon the stone tiles at his feet. Calacmu held out his prize and deliberately dropped it.
The dripping heart splashed down on the crisp white cloth and sprayed more blood from its severed arteries. The Jaguar priest leaned forward to study the patterns of bright scarlet that now stained the purity of white. One long streak ran like a broken river to the top edge of the cloth. It stopped short of one large splash stain and four smaller splashes.
"A stranger comes from the east, from the sea. He brings danger and four companions." Calacmu spoke slowly, as though mystified and uncertain. He looked up into the eyes of Chac-Mouel for confirmation.
The Serpent priest nodded slowly. He knew this already, but he was intrigued. He had watched from the astral plane as the blue warrior who threatened his fledgling empire had embarked with his friends. Their ship was now at sea, midway between the continents of Tar-Tika and Mer-Rika. What he could not understand was how Calacmu could interpret these events so accurately from his own crude method of divination.
"They come," he agreed. "One is a blue-skinned stranger who is very dangerous. Two are of another earth race from beyond another ocean, they are similar to you. And two are Tar-Tikans."
Calacmu's unblinking eyes stared at him from behind the jaguar mask, almost as black and evil as the jade mask itself. "Your people we know," he said slowly. "Another earth race we can understand. But who is the blue-skin one?"
Chac-Mouel could have explained. The blue-skinned man was named Raven. He was a warrior of Ghedda, perhaps even a Sword Lord, from the planet Dooma which had recently disappeared from the night sky. How he came to be here on this planet was a mystery and it was too hot for a long session of question and answer. There was other business to attend and the crowd below would grow impatient. They had to be kept both fearful and appreciative.
"I will deal with him when they arrive," he said enigmatically, and gestured for the ritual to continue.
Calacmu was still for another moment, his eyes still staring but with his face unreadable behind the black beast mask. Then he stooped and picked up the bloodied heart. He carried it to the edge of the platform and held it high above his head. A great cheer rang up from the massed thousands in the plaza below. The four acolytes, their robes now splashed with red had already pulled the corpse from the altar and dragged it to the edge of the platform. Now they rolled it over the edge and watched it bounce down the steps in a cartwheel of flapping limp limbs. The continuing cheers from below were ecstatic.
There was a receptacle for the extracted hearts. A seated stone statue of Kukulcan was positioned on the edge of the platform where it could be seen from the plaza below. The god's harsh, grim face was carved from grey granite and in his lap he held a stone bowl. The bowl had a deep centre and there was room for many offerings.
The hearts were symbolically offered to the god but most of them would be roasted later to provide a feast for the priests. The discarded bodies would be cooked and eaten to provide yet more strength and courage for the Jaguar warriors who had captured them in battle.
Calacmu hesitated with the dripping organ still in his hand, but the jaguar snarled from within its cage. It was a deep-throated, threatening sound. Calacmu turned, held the heart for a moment over the cage and then dropped it though a gap between the wooden bars. The jungle cat caught it neatly between its fearsome jaws, chewed, shook its head and swallowed. The living god also had to be fed.
In the meantime the next sacrificial victim was already being escorted up to the top of the pyramid.
As the killing continued, Chac-Mouel lost interest. Instead he was thinking of what he had seen on his last disembodied flight in the astral realm. He had seen the large reed boat captained by the black man Karuba as it sailed across the vast ocean from the southbound drifting continent of Tar-Tika. The ship's course was bringing it directly to this part of Mer-Rika.
On board was the man Raven, his brown-skin woman and the brown-skin warrior who was their companion. With them were Kel-Khotal and his sister Oriana. Chac-Mouel knew the latter pair well. They were of his own race, fifth generation descendents of the crew of the starship that had crashed long ago into the ice of Tar-Tika. Kel-Khotal still saw their mission here as Teachers and it was Kel-Khotal who had helped him to first establish himself among the Maytecs. Now Kel-Khotal was coming to investigate his achievements and that meant that the interfering Kel-Khotal and his sister must die.
Chac-Mouel had tried to kill Kel-Khotal before, using his powers of coercion from the astral plane, but each time he had been foiled by Raven. The Gheddan was a worthy swordsman full of reckless courage. Chac-Mouel knew that he would kill Kel-Khotal and that he should kill Raven. But the mystery of the lone Gheddan intrigued him and he saw that although they were enemies now they could well be allies.
Raven might well be the last biological Gheddan to survive in this solar system but Chac-Mouel was Gheddan in spirit. He had been reborn into the body of a Tar-Tikan but once he had been Strang, the First Sword Lord, the man who had forged the Gheddan Empire, the man who had built the City of Swords. He had ruled by creating rivers of blood. They had called him Strang the Bloody and Strang the Butcher, Strang the Conqueror.
Chac-Mouel was merely a flesh vessel. He was truly Strang. He would be Strang the powerful, Strang the tyrant yet again. The Maytecs were ideally malleable to his purpose and their obsession with blood rites was more than he could have hoped.
It was a glorious vision that any true Gheddan must share and if the blue man could be suborned he would make an able lieutenant.
He was briefly brought back from his thoughts by another triumphant bellow of voices from the plaza below. Another uplifted heart was being shown to the mob before being dropped into Kukulcan's bowl.
Strang, he was thinking of himself as Strang now, returned to his meditations. There was another group, he knew, following the first. This second group was led by a brown skin swordsman who styled himself a king and included four gold skins who could only be Alphans who had also originated on the lost planet of Dooma. The fifth planet was gone forever but it seemed that a small group of its inhabitants had somehow escaped to earth.
Strang did not know if the second group were friends or enemies of the first or what part they intended to play in whatever events were to come. However he had become aware that three of the Alphans and the earth swordsman were also astral travelers. They were weak, mere children compared to his own abilities which were honed through many reincarnations, but they would bear watching
Another sacrificial victim died beneath the plunging knife, this one kicking and screaming in terror. The intrusion of noise and struggle dispelled Strang's thoughts once again. The white cloth with its red splashes of divination was still at his feet and he kicked it to one side.
Tayasal saw the movement and smiled at him briefly, her teeth a flash of gleaming white in her dark shadowed face. Then she turned her rapt attention back to the blood-letting on the altar. She was breathing rapidly and he could smell her sexual excitement.
The serpent priestess was aroused and that meant another duty he had to perform as soon as possible once the present spectacle was over. In his imagination he could already taste her hungry mouth and feel the sharp, long talons of her fingernails raking his back.
I hope you have enjoyed this free read first chapter. To buy the book go to my Heroic Fantasy page and follow the link to my Amazon page.


text:
Q: Deserializing gson using interfaces, clarification needed Given
DefaultAConfig implements AConfig
DefaultLConfig implements LConfig
DefaultConfiguration implements Configuration

and the json file located at externalConfigFile, I
Gson gson = new GsonBuilder()
        .registerTypeAdapter(Configuration.class, new CInstanceCreator())
        .registerTypeAdapter(LConfig.class, new LInstanceCreator())
        .registerTypeAdapter(AConfig.class, new AInstanceCreator())
        .create();

config = gson.fromJson(readFile(externalConfigFile), DefaultConfiguration.class);

public static class AInstanceCreator implements InstanceCreator<AConfig> {
    public AConfig createInstance(Type type) {
        return new DefaultAConfig();
    }
}

public static class LInstanceCreator implements InstanceCreator<LConfig> {
    public LConfig createInstance(Type type) {
        return new DefaultLConfig();
    }
}

public static class CInstanceCreator implements InstanceCreator<Configuration> {
    public Configuration createInstance(Type type) {
        return new DefaultConfiguration();
    }
}

From what i see however not fields are set:
DefaultConfiguration{config={k1=23, k2=word}, sectionL=sectionL{default_level='null', impl='null', levels=[]}, sectionA=[DefaultAConfig{format='null', filename='null', rotation='null', threshold=null}, DefaultAConfig{format='null', filename='null', rotation='null', threshold=null}]}

Json structure as as follows:
{
    "config": {
        "k1": "23",
        "k2": "word"
    },
    "sectionL": {
        "default_level": "whatever",
        "impl": "whatever",
        "levels": [
            "a",
            "b"
        ]
    },
    "sectionA": [
        {
            "format": "text",
            "filename": "/a/b/c",
            "rotation": "asdasd",
            "threshold": "isdals"
        } ,
        {
            "format": "text",
            "filename": "/a/b/d",
            "rotation": "asdasd",
            "threshold": "isdals"
        }
    ]
}

Why are sectionA and sectionL stuff not set please?

redpajama_set_name: RedPajamaStackExchange


Lakeport will be losing some firefighters.The Lakeport Fire District Board of Directors adopted a budget for 2018-2019 that will require three full-time staff firefighter positions to be cut. Fire Chief Doug Hutchison says they'e cut everywhere else they can, and now must reduce labor costs. Residents who attended the board meeting expressed concern about the cuts in personnel, and wondered if they might have been able to help to prevent the cuts had they known about the financial situation earlier.


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"Wabi-sabi: Celebrating Simple Beauty," Studio B's sixth annual exhibit and book release
by Studio B
Studio B Studio
Freyberger honored by DAR with Women in History Award
BCTV Announces Guzman, Eaddy as Summer 2019 Interns
GoggleWorks Center for the Arts presents 14th Annual GoggleWorks Studio Artist Exhibition
Reading Theater Project Announces Play Readings
Studio B, 39A East Philadelphia Avenue in Boyertown, PA, is pleased to announce the opening of "Wabi-sabi: Celebrating Simple Beauty," the studio's sixth annual exhibit and book release combining literary and visual art.
The exhibit, sponsored by Tompkins VIST Bank, opens Friday, March 15, 2019, with a reception from 5:00 p.m.-8:00 p.m. and runs through April 14, 2019. The exhibition and opening reception are free and open to the public.
Thank you to our Wabi-Sabi exhibition sponsor Tompkins VIST Bank.
Pictured (L to R) Susan Biebuyck, Studio B Gallery Director, Lori Carnes, Tompkins VIST Bank Boyertown Branch Manager, Jane Stahl, Studio B Community Relations Director, and Scott Gruber, President, Chief Executive Officer, Tompkins VIST Bank.
"This year's theme was suggested by one of our participating artists," explained Jane Stahl, Director of Community Relations. '"Wabi' means things that are fresh and simple. 'Sabi' calls to mind the cycles of age and the things whose beauty stems from age," she continued.
"This Japanese world-view provides a balm to many of our modern-day ills and ameliorates the greed and incivility rampant in the current culture. The mindfulness of wabi-sabi finds both the glory and the melancholy in one single morning glory, a gray December landscape, the aching beauty of an abandoned shed, rusty tools, a chipped vase, a faded piece of cloth," Stahl explained.
Prizes to visual artists and writers will be awarded at the opening reception by Margaret Harner. Harner is retired from the Boyertown Area School District where she taught social studies for 37 years. Since retirement, she has devoted much of her time to writing about local history. She has co-authored 5 books about the town where she grew up, and wrote a history of St. John's Lutheran Church and One Day at a Time: A Social History of Boyertown, plus numerous pamphlets and newspaper and magazine articles. She has served on boards of directors for Building a Better Boyertown, the Boyertown United Way, the local historical society, and the General Carl A. Spaatz Museum.
The Miskos are serving for the fifth year as sponsors for the exhibit's prizes and provide the funding for the awards.
The booklet of prose, poetry, and illustrations edited by Stahl and Susan Biebuyck, fine artist and Studio B's gallery director, features the work of local writers and artists and will be offered for sale in addition to the art.
"We are grateful for the sponsorship of Tompkins VIST Bank," noted Biebuyck, "and for the leadership of Lori Carnes, Branch Manager. "In an effort to assist us in promoting the exhibit and the work of our artists and writers, Lori invited us to stage a mini art exhibit at the Boyertown location. We are always eager to showcase our talented artists wherever we can," she continued, "and appreciate Lori's thoughtfulness."
Throughout the exhibit's run several opportunities for writers, artists, and the community are planned. On Sunday, March 24, 2019, from 2 p.m.-4 p.m., a poetry/prose reading of the works included in the booklet will be held.
On Sunday, April 7, 2019, 2 p.m.-4 p.m., writers and artists are invited to an "ekphrastic" workshop in which writers are asked to bring a poem or prose selection and ask our visual artists to respond to it and our visual artists are asked to bring a piece of their artwork and have writers respond to it in a poem or prose piece.

redpajama_set_name: RedPajamaCommonCrawl


text:
Tag: Uco Valley
In part five of The Real Argentina's somms series, we meet Paz Levinson, the second of two Argentine sommeliers competing in the A.S.I. Concours du Meilleur Sommelier du Monde 2016 (A.S.I. Contest of the Best Sommelier of the World). Currently ranked number one in both the Americas and Argentina, and the only Argentine to qualify as an Advanced Sommelier from the UK's Court of Master Sommeliers, Paz will be going for a titles hat-trick at the world championship, which is being held in Mendoza for the first time on 15-20 April 2016.
Grape Expectations: Less Common Varieties of Argentina Wine
As Argentina is a country made up of immigrants for the most part, it makes perfect sense that its grapes (excluding Torrontés) are also documented aliens. Take our dearly beloved Malbec. We all know it originates from Cahors in south-west France, don't we? That's right, the Old World has had its hand in defining Argentina's viniculture, thanks to big hitters Chardonnay, Merlot, Cabernet Sauvignon and of course Malbec – from Salta in the north to Patagonia in the south…
Photo Tour of Mendoza Vineyards During Harvest 2013
In Mendoza, the grape harvest can start any time from the end of January and continue until mid-May, depending upon the varietal and wine a bodega intends to make. Many wineries used to be located in the city of Mendoza, but over the years they have dispersed in a bid to find new terroir, a move that has seen many wind their way south. I've travelled to the province three times since February and have compiled this collage of 2013's harvest across some of the different vineyard areas of Mendoza.
The Top 10 Restaurants in Mendoza
Visitors to Mendoza — city and province — tend to have their eye on one pressing matter, and one pressing matter only: fermented grape juice. The reputation of Argentina's greatest wine-producing province precedes it, however: it's not just Malbec and its sibling varietals that are hogging the spotlight. A host of restaurants in Mendoza are making waves with their gastronomical and enological offerings, from steak flame-grilled seven ways to closed-door establishments and Asian fusion cuisine…
Blue Sky Drinking: Argentina's High-Altitude Vineyards
It was at a 3,457 metre-high pass, somewhere way to the west of Salta city, after four hours on switchback, rubble-strewn dirt 'roads', that the extraordinary immensity of the Andean Alto-Plano really sank in. Admittedly the cocoa leaves that my native driver kept feeding me (for medicinal purposes) probably added to the sense of dizzying awe…
Own Your Piece of the Dream – Vineyard Sharing in Mendoza
Had the Americans put the democrat John Kerry in the White House instead of re-electing George Bush in 2004, things might have been very different. How different is impossible to say, but it certainly changed the life of Michael Evans, one of Kerry's campaign managers. Desperate for a break after the election defeat, Evans bought a return ticket from Los Angeles to Buenos Aires. "I came literally for a vacation and just expected to be here a couple of weeks." Eight years on, he's still there.
Putting the Magic in Malbec – the Art of Microclimatic Blending
Fresh from a recent trip to Mendoza, Andrew Catchpole looks at the innovative Argentine art of microclimatic blending. An amusing and revealing tweet recently did the rounds from a satirical would-be-sommelier tweeter. Hashtagged #LessonsInService, the twittersphere was advised: "When writing wine descriptions on a menu: You can write "crisp, crispy or Malbec" on anything and it will sell."…
Mendoza – The Napa of the South
Mendoza has been described as 'the Napa of the South' and it's easy to understand why such parallels are drawn. With both sitting at 33 degrees of latitude there's a neat symmetry at work for anyone with a smidgeon of interest in how the world's great vineyards lie. Add to this the regional eminence of both Napa Valley and Mendoza, each celebrated as the most famous quality wine producer in their respective American hemispheres, and such comparisons seem almost inevitable.
The New Wave of Wine from Argentina
One of the most fascinating and compelling reasons for diving into the treasure trove of New World wines lies not just in the drum-roll of longer established flagship varieties and styles, but also with the emerging stars awaiting discovery.
Argentina Vineyard and Winery Tours
The Uco Valley covers a vast area, and visiting the bodegas requires a little forward planning. There are basically two options: organise it yourself, or join a tour. In this guide, we'll look at some of the options for tours, as well as some reputable tour companies.


text:
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text:
Ce bon vieux Sam (titre original : )  est un film américain réalisé par Leo McCarey, sorti en 1948.

Synopsis
Sam Clayton est quelque peu naïf et lorsqu'il entend un sermon du révérend Daniels, il est persuadé d'avoir l'obligation d'aider les autres de toutes les façons possibles, y compris son beau frère Claude. Ce dernier vit avec dans sa maison gratuitement depuis six mois. Plus tard, leurs voisins, les Butler, ont besoin d'une voiture pour les vacances lorsque la leur tombe en panne.

Sam est le directeur d'un grand magasin dont le patron, H.C. Borden, veut qu'il vende plus et qu'il soit moins sociable avec les clients. Sam est aussi une épaule sur laquelle Shirley Mae, une employée, peut pleurer lorsque sa relation amoureuse est rompue. Un jour, il accorde un prêt de 5 000 $, à l'insu de sa femme, aux Adams, qui en ont besoin pour sauver une station-service qu'ils ont achetée.

Lu, le femme de Sam, en a assez de la générosité de son mari, surtout lorsqu'il finit par payer les réparations de la voiture des Butler, puis laisse le mécanicien venir à la maison pour manger avec eux gratuitement. La goutte d'eau qui fait déborder le vase est lorsqu'elle apprend qu'ils ont la possibilité de verser un acompte sur une nouvelle maison mais que Sam a prêté leur pécule aux Adams.

De son côté, Sam est lui aussi malheureux. Il est agacé par les Butler, qui ont accidenté sa voiture et ne peuvent pas payer pour la réparer. Il veut aussi que Claude déménage. Les problèmes de Shirley Mae se présentent à lui après une overdose de pilules. Bien que les Adams lui fassent la surprise d'un chèque de 6 000 $ pour rembourser leur prêt, Sam utilise une partie de l'argent pour payer le dîner de charité annuel de Noël après s'être fait voler l'argent qu'il avait collecté auprès des employés et que la banque refuse de lui accorder un prêt. Il se retrouve alors dans un bar, buvant copieusement. Ensuite, une fanfare de l'Armée du Salut jouant des chants de Noël le ramène chez lui. Là, le directeur de la banque lui promet qu'il recevra le prêt qu'il a demandé et Borden le surprend en lui offrant une promotion au poste de vice-président du magasin.

Fiche technique
 Titre original :
 Titre français : Ce bon vieux Sam
 Réalisation : Leo McCarey
 Assistant-réalisateur : Jesse Hibbs
 Scénario : Leo McCarey, John D. Klorer et Ken Englund
 Photographie : George Barnes
 Montage : James C. McKay
 Musique : Robert Emmett Dolan (musique originale)
 Son : John L. Cass, Clem Portman
 Direction artistique : John B. Goodman
 Décors : Jacques Mapes, Darrell Silvera
 Maquillage : Myrl Stoltz
 Effets spéciaux : Russell A. Cully
 Producteurs : Cecil F. Ford et Leo McCarey
 Société de production : Rainbow Productions
 Sociétés de distribution :
 RKO Radio Pictures (1948) (États-Unis) (cinéma)
 National Telefilm Associates (1957) (États-Unis) (cinéma) (re-parution)
 Republic Pictures Home Video (1988) (États-Unis) (VHS)
 Republic Pictures (Brésil) (video)
 Pays d'origine :
 Langue originale : anglais
 Format : noir et blanc – 35 mm – 1,37:1 – mono (RCA Sound System)
 Genre : Comédie dramatique
 Durée :  ()
 Dates de sortie :
  :
  :

Distribution
 Gary Cooper : Samuel R. 'Sam' Clayton
 Ann Sheridan : Lucille 'Lu' Clayton
 Ray Collins : Révérend Daniels
 Edmund Lowe : H. C. Borden
 Joan Lorring : Shirley Mae
 Clinton Sundberg :  Nelson
 Minerva Urecal :  Nelson
 Louise Beavers : Chloe, femme de ménage de Lu
 Dick Ross : Claude, frère de Lu
 Lora Lee Michel : Lulu Clayton
 Bobby Dolan Jr. : Butch Clayton
 Matt Moore :  Butler
 Netta Packer :  Butler
 Ruth Roman : Ruth 'Ruthie'
 Carol Stevens :  Adams
 Todd Karns : Joe Adams
 Irving Bacon : le clochard
 William Frawley : Tom Moore
 Harry Hayden :  Drew, banquier
 Oliver Blake
 Anne O'Neal :  Finnerty
 Almira Sessions : la propriétaire

Voir aussi

Liens externes

Film américain sorti en 1948
Comédie dramatique américaine
Film réalisé par Leo McCarey
Film en anglais

redpajama_set_name: RedPajamaWikipedia


This is an evolution of an old project of mine called TI-explorer. It's exactly what the name suggests: a calculator command line.
Nice! You should take a look at my Terminal, it's a similar project.
How did you parse input? I'm trying to read the bytes typed, but that's kind of a pain.
* is an invalid key, or one without a letter.
I meant how did you parse the text? I use a lookup table to display characters, so it's not a problem for me to extract the codes.
Which returns a 1 if they are equal, and a 2 if not. I use this for no-arg commands.
what's the mouse going to be for?
Are you going to include a flashing text cursor so you know where you are in the string?
The mouse will be so that you can move the command window around [and hopefully select text]. I am planning on a cursor as well.
So basically this would not only be a command line, but also some sort of shell?
If I ever decide to implement shell features, they'll be through Doors. It's just a command line for now.
Ah ok. I was wondering because you mentionned being able to move the window around and stuff.
Page created in 1.002 seconds with 62 queries.


In today's fast-paced world, what are the most pressing issues impacting your business?
Business owners are constantly warned "disrupt or be disrtrupted." But what if it wasn't about simply disruption, and more so the market we find ourselves in is the natural evolution of business in a data-driven world. After all, the business goals remain the same: profitability; delighted customers; and effective cost management.
In this new world, what can you do to effectively respond to the trends having the biggest impact to make them benefit – rather than hinder – your business?
Budget pressures – When it comes to IT, we're being asked to do more with less, and with an increased focus on innovation – following the Federal Government's Science and Innovation Agenda – budget pressures are more important than ever. As such, look to work with specialist IT vendors and partners who can carefully consider your IT needs to offer the best solutions, which deliver the maximum return on investment.
The sharing economy – The role of online applications or portals, such as Uber and Airbnb, to share or sell a service are rapidly gaining traction and transforming traditional methods of consumption. As these economic changes continue to introduce contemporary methods of business, you must ensure the IT network can rapidly respond to change – or you risk falling behind, losing out to 'born in the cloud' competitors. Look to deploy cloud platforms empowering your business to invent and refresh 'tried and tested' business models enabling you to remain relevant within the fast evolving market.
Increased regulations – The online nature of business today enables you to sell to a global market. However, it also requires you to adhere to a range of regulatory and compliance across geographical boundaries to remain safe, secure and transparent. Failure to do so could result in an unsuccessful expansion, stalled productivity and financial losses. To counter this, be sure to select solutions approved in each of the new markets you are targeting.
Data breach risks – As business increasingly moves online, cyber-attacks represent real and present dangers – and we regularly see high-profile breaches across the globe. The most effective approaches to security are pro-active rather than reactive, so ensure you have in place the appropriate security and compliance solutions helping reduce risk while boosting productivity and growth.
Workplace revolution – In five years' time millennials will make up half the Australian workplace and by 2025 this number will increase to 75 per cent (according to Big demands and high expectations, The Deloitte Millennial Survey). Similarly, as attitudes to fixed working locations and hours change, we're increasingly witnessing the roll-out of flexible working intiatives. Reacting to this social transformation and supplying these 'digital natives' with the appropriate tools to benefit productivity will help your organisation prepare for the challenges of this changing world.
Flexible / mobile working – Ensure you're adapting to new working habits by affording your workforce access to remote working technologies maximising productivity. This will support you in attracting the best talent, while satisfying the needs of your current employees. Video conferencing and file sharing platforms have already seamlessly assimilated themselves into the fabric of typical working days for millions of workers worldwide, benefitting both day-to-day functionality and the ways organisation's source talent.
Today, business must appreciate the inseperable relationship between technology and commercial success. By harnessing open and flexible cloud platforms alongside enterprise applications enabling a new way of work, your organisation can protect itself from the social, economical and physical changes currently shaping the marketplace.
Staying ahead and recognising the role of technology in managing efficiency and removing the limitations of fixed workplace represents an in-road to future-proofing your business against the trends we see today. However, technology alone cannot transform traditional businesses into organisations spearheading the economy of tomorrow. By evolving with the changing business environment – rather than as a reaction to it – you will find yourself well set to achieve the business goals of the data-driven world: profitability, delighted customers, and effective cost management.


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Canon UK celebrates apprenticeship milestone
London, UK – 9th March 2017 – Canon UK, world leader in imaging solutions, today announced it has recruited its 20th apprentice since the launch of its apprenticeship scheme in 2015. Canon is continuing to grow the number of roles offered to apprentices, who will have the opportunity to work across fields including ICT, Business Operations and Corporate and Marketing Communications.
Debbie Brown, HR Director at Canon UK said, "Our Corporate philosophy of Kyosei – living and working together for the common good – is at the heart of what we do at Canon. We want to make sure our apprentices receive the best experience possible, whether that's working in our head office or out in field. The programmes and positions we have created are aimed to fill the gaps in the wider industry and encourage young people into careers in STEM (science, technology engineering and maths). By running our apprenticeship programmes, we hope to bring some fresh thinking into the company, whilst giving young people opportunities that they might not find elsewhere."
Canon UK customised the national apprenticeship framework, and worked closely with local colleges to build bespoke programmes to provide young people the opportunity to earn whilst learning on the job. Recruitment is planned throughout 2017 and out of the apprentices that finished last year, five now have secured permanent employment at Canon.
Lucy Lee, Local IT Support Apprentice said, "My apprenticeship at Canon has enabled me to turn something I enjoy into a career and allowed me to earn whilst still learning. I've already gained a wealth of skills and it's been brilliant to have the opportunity to progress and grow at such a well-known brand."
Many Canon customers are now requesting that an apprentice works on their accounts which provides them with valuable on-site experience. Fife Council is leading by example, welcoming apprentice Leigh to the team as a Field Service Engineer.
Canon is constantly looking to recruit apprentices across the business and more information on the roles currently available can be found at the Canon UK Careers website.


This juicy lemon citrus design will be a hit wherever you take it. This original Old Glory design is featured on a high-quality, microfiber bath towel in a cutting-edge sublimation print. Designed in-house and printed to order, this is a one-of-a-kind piece for people with style to match.


Shankland Financial Advisors, LLC ("SFA") is a registered investment advisor located in the State of Illinois. SFA and its representatives are in compliance with the current registration requirements imposed upon investment advisors by those states in which SFA maintains clients. SFA may only transact business in those states in which it is registered or qualifies for an exemption or exclusion from registration requirements.


text:
Q: Second Order Taylor Expansion of $\exp^{-1}(\exp tX \exp tY)$ I'm attempting to prove that the product of exponentials $\exp tX \exp tY$ in a Lie group can be expanded to second order as
$$\exp^{-1}(\exp tX \exp tY) = t(X+Y) + \frac12 t^2[X,Y] + t^3\widehat{Z}(t).$$
I've found some lecture notes here which derive the expansion using the fact that
$$(Xf)(a) = \frac{d}{dt}\bigg|_{t=0} f(a\exp tX),$$
where $f$ is a smooth function on a Lie group $G$ and $X$ is a left invariant vector field on $G$. These notes are almost perfectly clear to me, aside from one small piece of connective tissue. When forming the Taylor sum, the notes claim in a proposition
$$f(\exp tX_1 \dots \exp tX_n) = f(e) + t\sum_i X_if(e) + \frac{t^2}{2}\left\{\sum_i X_i^2f(e) + 2\sum_{i<j}X_iX_jf(e) \right\} + O(t^3),$$
which would imply that, for the first order term,
$$\frac{d}{dt}\bigg|_{t=0} f(\exp tX_1 \dots \exp tX_n) = \sum_i X_if(e) = \sum_i \frac{d}{dt}\bigg|_{t=0} f(\exp tX_i).$$
Unfortunately, I can't manage to convince myself that the left and right sides of the above are, in fact, equal. However, I'm confident that once I've worked out the issue there, the second order term will follow immediately.
What obvious fact am I missing here? Exactly how dense am I being?

A: Thanks to the comments left by Ted Shifrin, I believe I've ironed out the problem! The "trick" seems to be defining a set of ostensibly independent variables $t_1,\dots, t_n$ which are all, in fact, equal to $t$. With this, the function in question becomes $f(\exp t_1X_1 \dots \exp t_nX_n)$, and I can then apply the chain rule:
$$
\frac{d}{dt}\bigg|_{t=0}f(\exp t_1X_1 \dots \exp t_nX_n) = \sum_i\frac{\partial}{\partial t_i}\bigg|_{t_1=\dots=t_n=0} f(\exp t_1X_1 \dots \exp t_nX_n) \frac{d}{dt}t_i.
$$
But of course, by the definition of the variables $t_i$, it's clear that $\frac{d}{dt}t_i = 1$. Thus, the derivative becomes
$$\begin{align}
\frac{d}{dt}\bigg|_{t=0}f(\exp t_1X_1 \dots \exp t_nX_n) &= \sum_i\frac{\partial}{\partial t_i}\bigg|_{t_1=\dots=t_n=0} f(\exp t_1X_1 \dots \exp t_nX_n) \\
&= \sum_i \frac{\partial}{\partial t_i}\bigg|_{t_1=\dots=t_n=0}(\exp t_1X_1 \dots \exp t_nX_n)f \\
&= \sum_i \exp' t_iX_i|_{t_i=0}f \\
&= \sum_i X_i|_ef = \sum_i (X_if)(e),
\end{align}$$
where on the second line I've interpreted $\exp t_1X_1 \dots \exp t_nX_n = \gamma(t_i)$ as a path on $G$, and used the fact that $(f \circ \gamma)'(t_0) = \gamma'(t_0)f.$ Thank you Ted Shifrin for the tip!


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The Parent Trap franchise consists of American family-comedies, including the original theatrical film, three made-for-television sequel movies, and a theatrical legacy sequel/soft-remake. Based on the 1949 novel Lisa and Lottie (published in the United Kingdom and Australia since 2014 as The Parent Trap) by Erich Kästner, the plot centers around identical twin sisters, who were separated at birth and rediscover each other while attending summer camp. The pair trade places upon returning home, and devise a plan to bring their family back together.

The original 1961 film received positive critical response, and was deemed a success. Starting in 1986 three television sequels were produced and released as a part of The Magical World of Disney series. The 1998 film, received critical acclaim and was a hit for the studio financially.

The franchise will continue, with a streaming exclusive reboot in development to be released on Disney+.

Origin

The 1949 German fictional children's picture book by Erich Kästner originally published as Das Doppelte Lottchen (The Double Lottie), was originally written during WWII as the plot for a movie. In 1942, Kästner was allowed by Nazi officials to develop the project under the working title of "The Great Secret", before the authorities eventually forbade his continued work. After the resolution of the war, the author redeveloped the story into the successful novel that was released.

The plot follows Lisa Palfy and Lottie Horn (Luise Palfy and Lottie Körner in the current British translation), two identical twins who were separated in infancy when their parents divorced while each raised by one half of the respective couple. The unsuspecting sisters meet at a summer camp where they engineer a plan to switch places when they return home. Though their behavior differs greatly, the parents do not suspect that the daughters had switched places. Upon realization the family reunites and at the behest of the daughters, the couple gets back together.

The book was adapted into various releases, including Walt Disney's adaptation. The novel was discovered by Disney's story editor Bill Dover who recommended the studio purchase the film rights. Production commenced in July 1960 under the working title of "We Belong Together", and went until September of the same year.

Films

The Parent Trap (1961)

Two identical twin sisters, Sharon McKendrick and Susan Evers, who were separated at birth due to their parents' divorce are unintentionally reunited years later at summer camp. Together, they devise a plan to bring their parents back together and reconcile their family. Sharon and Susan, one of which has lived with their mother and the other with their father, switch places after camp with intentions being to sway their parents into falling in love once more. Their attempts are problematically opposed by their father's gold-digging fiancé. The girls double their efforts in bringing their parents together.

The Parent Trap II (1986)

Years after the first film, Sharon finds herself living the life of a divorced, single mother. While at summer school, her 11-year-old daughter Nikki befriends a girl named Mary. The pair work together as matchmakers to persuade Sharon into dating Mary's widowed father, named Bill. The young friends work to convince their parents that they should be dating. As Sharon plans to move to New York, Susan is brought into the plan in order to help the single parents realize they love each other.

Parent Trap III (1989)

Upon returning from their respective summer vacations, triplets Megan, Lisa, and Jessie Wyatt discover that their father Jeffrey is engaged to a snobbish Cassie McGuire. When Cassie makes the unpopular decision to remodel the family's beach house in California, Susan Evers is hired to redecorate. Susan, who is now divorced, finds fulfillment in her work. As the triplets collectively decide that Susan is the right woman for their father, they develop a plan to bring the pair together. When their scheme doesn't seem to be working, they turn to Susan's twin sister, Sharon McKendrick-Grand for assistance. With the wedding quickly approaching, the women set out to prevent Jeffrey from marrying the wrong woman.

Parent Trap: Hawaiian Honeymoon (1989)

Newlywed couple Jeffrey and Susan Wyatt inherit a family resort in Hawai'i from his late-aunt. Together, the couple, his teenaged triplets, and Susan's twin sister Sharon, move to the island to repair its run-down condition and restore the vacationing location so that they can run an operating business. Despite their attempts, the project proves to be more than its worth, so Jeffrey and Susan decide to sell the property once it is reinstated. As the triplets encounter experiences with the boys they meet at the beach, Jeffrey comes into contact with an old high school rival named Ray. Ray bargains to purchase the property, with a promise of keeping the resort as-is. It soon comes to light that Ray has ulterior motives, which may not only include the land.

The Parent Trap (1998)

American-raised Hallie Parker and British-raised Annie James are twin sisters, who were separated at birth. By happenstance, the two attend the same summer camp and meet as complete strangers. Born to divorced parents Nick and Elizabeth, the preteen girls were raised on opposite sides of the Atlantic Ocean. After overcoming their differences and becoming close friends, the pair create a plan to swap places when they go home, giving each of them the chance to spend time with the parent that they have not had an opportunity to build a relationship with. The twins soon decide that they want to get the family back together, and come up with ideas for reuniting their parents.

Untitled reboot (TBA)

In November 2019, it was announced that a reboot is in development. The project will be released via streaming, as a Disney+ exclusive.

Main cast and characters
{| class="wikitable" style="text-align:center; width:99%;"
|-
! rowspan="2" | Character
! colspan="6" style="text-align:center;"| Film
|-
! style="text-align:center;"| The Parent Trap
! style="text-align:center;"| The Parent Trap II
! style="text-align:center;"| Parent Trap III
! style="text-align:center;"| Parent Trap:
! style="text-align:center;"| The Parent Trap
! style="text-align:center;"| Untitled reboot
|-
! style="background-color:#ccccff;" colspan="7"|
|-
! scope="row" | Sharon McKendrick-Grand
| rowspan="2" colspan="4"| Hayley Mills
| colspan="2" style="background:lightgrey;"|
|-
! scope="row" | Susan Evers-Wyatt
| colspan="2" style="background:lightgrey;"|
|-
! scope="row" | Margaret "Maggie" McKendrick
| Maureen O'Hara
| colspan="5" style="background:lightgrey;"|
|-
! scope="row" | Mitchel "Mitch" Evers
| Brian Keith
| colspan="5" style="background:lightgrey;"|
|-
! scope="row" | William "Bill" Grand
| style="background:lightgrey;"|
| Tom Skerritt
| colspan="4" style="background:lightgrey;"|
|-
! scope="row" | Nicole "Nikki" Ferris
| style="background:lightgrey;"|
| Carrie Kei Heim
| colspan="4" style="background:lightgrey;"|
|-
! scope="row" | Mary Grand
| style="background:lightgrey;"|
| Bridgette Andersen
| colspan="4" style="background:lightgrey;"|
|-
! scope="row" | Lisa Wyatt
| colspan="2" style="background:lightgrey;"|
| colspan="2"| Leanna Creel
| colspan="2" style="background:lightgrey;"|
|-
! scope="row" | Jessie Wyatt
| colspan="2" style="background:lightgrey;"|
| colspan="2"| Monica Lacy
| colspan="2" style="background:lightgrey;"|
|-
! scope="row" | Megan Wyatt
| colspan="2" style="background:lightgrey;"|
| colspan="2"| Joy Creel
| colspan="2" style="background:lightgrey;"|
|-
! scope="row" | Hallie Parker
| colspan="4" style="background:lightgrey;"|
| rowspan="2"| Lindsay Lohan
| style="background:lightgrey;"|
|-
! scope="row" | Annie James
| colspan="4" style="background:lightgrey;"|
| style="background:lightgrey;"|
|-
! scope="row" | Nicholas "Nick" Parker
| colspan="4" style="background:lightgrey;"|
| Dennis Quaid
| style="background:lightgrey;"|
|-
! scope="row" | Elizabeth "Liz" James
| colspan="4" style="background:lightgrey;"|
| Natasha Richardson
| style="background:lightgrey;"|
|-
! style="background-color:#ccccff;" colspan="7"|
|-
! scope="row" | Vicky "Vicki" Robinson-Blake
| Joanna Barnes
| colspan="3" style="background:lightgrey;"|
| Joanna Barnes
| style="background:lightgrey;"|
|-
! scope="row" | Cassie McGuire
| colspan="2" style="background:lightgrey;"|
| Patricia Richardson
| colspan="3" style="background:lightgrey;"|
|-
! scope="row" | Nick
| colspan="2" style="background:lightgrey;"|
| Ray Baker
| colspan="3" style="background:lightgrey;"|
|-
! scope="row" | Ray
| colspan="3" style="background:lightgrey;"|
| John M. Jackson
| colspan="3" style="background:lightgrey;"|
|-
! scope="row" | Charlotte Brink
| colspan="3" style="background:lightgrey;"|
| Jayne Meadows
| colspan="3" style="background:lightgrey;"|
|-
! scope="row" | Charles James
| colspan="4" style="background:lightgrey;"|
| Ronnie Stevens
| style="background:lightgrey;"|
|-
! scope="row" | Chessy
| colspan="4" style="background:lightgrey;"|
| Lisa Ann Walter
| style="background:lightgrey;"|
|-
! scope="row" | Martin
| colspan="4" style="background:lightgrey;"|
| Simon Kunz
| style="background:lightgrey;"|
|-
! scope="row" | Meredith Blake
| colspan="4" style="background:lightgrey;"|
| Elaine Hendrix
| style="background:lightgrey;"|
|-
! scope="row" | Les Blake
| colspan="4" style="background:lightgrey;"|
| J. Patrick McCormack
| style="background:lightgrey;"|
|-
|}

Additional crew and production details

Reception

Box office and financial performance

 Critical and public response

In other media
Streaming event
In May 2020, Nancy Meyeres announced a 22-year anniversary reunion event for the 1998 remake cast and crew. The anniversary event included Lindsay Lohan, Dennis Quaid, Elaine Hendrix, Lisa Ann Walter, Meyers, Charles Shyer and Simon Kunz. In July of the same year, together they discussed the making of the movie, on Katie Couric's Instagram page as a charity fundraiser for World Central Kitchen.

Documentary
Family Films Productions is developing The Legacy of The Parent Trap, a documentary film that gives a retrospective insight into developing The Parent Trap.  The film features memories and stories of various cast and crew, about the original 1961 film and its three sequels. Among the interviews, all-new footage featuring Hayley Mills is included. Additional interviewees include Tom Skerritt, Carrie Kei Heim, Creel triplets including, Monica Creel Lacy, Leanna & Joy Creel, Susan Henning, Ron Maxwell (Director of Parent Trap II, Mollie Miller (Director of Parent Trap III/Hawaiian Honeymoon), Tommy Sands, and Joanna Barnes and even Lynette Winters, and Kay Cole (camp inch scenes). Bridgette Andersen's Teresa Andersen her mother discusses reflections on experiences that occurred on-set during filming of The Parent Trap II, with director Ron Maxwell, among others including writer Stu Krieger who wrote the script for Parent Trap II. Marilyn McCoo also is featured sharing memories about recording music for Parent Trap II. Charles Fox wrote the theme, "Let's Keep What We Got" which was the title music in the opening for "The Parent Trap II", and the entire music score. He is also featured on-camera, with talking about his experiences in writing the song and music. Disney historian and authors (previous Disney employees) Bill Cotter and Lorraine Santoli are also featured on-camera.

The project analyzes and focuses on the life of Erich Kastner who wrote the original German book, Das Doppelte Lottchen'' that the films were based on. Luke Springman, German professor Aaron Pacentine is an executive producer of the film. This is the first full-length film documentary that details coverage on the 1980s Parent Trap films, and the first time the director, Mollie Miller, has spoken out publicly about the original film since then.

References

American film series

Comedy film series
Children's film series
Films about twin sisters
Disney film series
Film series introduced in 1961


CHICAGO (WBBM) – The man that Rahm Emmanuel brought in as Chicago Transportation Commissioner came from Washington D.C., where he instituted what seems to be a successful bike rent and share program. Now, he is trying it here.
Transportation Commissioner Gabe Klein sees the bike program not just as a way to get some exercise and ground level sightseeing. He sees it as part of the city's transit system, linking riders with the end of their public transit rides to their offices downtown or in the neighborhoods. Klein wants regular short commuter use to be free.
Commissioner Klein's vision of the bike system in Chicago: 3,000 bikes at 300 locations by next year, and 5,000 bikes a couple of years after that. He hopes that rentals and the sale of advertisements will be enough to make the program at least revenue neutral, possibly profitable for the City of Chicago.


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Home » Archive » Education » COVID-19 Experiences of LGBTQ People Studied by L.A. Center
COVID-19 Experiences of LGBTQ People Studied by L.A. Center
by Contributing Editor May 26, 2021 May 26, 2021
The Los Angeles LGBT Center and four other federally qualified health centers will partner on a study seeking to increase knowledge about the COVID-19 health experiences of LGBTQ people, including rates of infection and outcomes, it was announced Wednesday.
"The We Count Collaborative: Impacts of COVID-19 on LGBTQ Health" is a national project spearheaded by the Los Angeles center.
As COVID-19 began to ravage communities last year, LGBTQ health organizations advocated for the collection of sexual orientation and gender identity data to understand the full health needs of the community.
"Our pooled data will allow for a novel and robust analysis of COVID-19's impact on access to health care for vulnerable LGBTQ clients," said Dr. Robert Bolan, the LGBT Center's chief medical officer. "The capability to collect and report on data trends across our geographically diverse sites will inform vital public health policy around prevention, education, and provision of services for LGBTQ communities."
With the U.S. Centers for Disease Control and Prevention's 2021 report indicating sexual minority persons experience higher rates of underlying illnesses related to severe outcomes of COVID-19, data tracking on the virus' health impacts in LGBTQ communities is more imperative than ever, Bolan said.
He said the LGBT Center and its partners in the study are uniquely positioned to track and report on this data as well as advise on best practices for addressing the health needs of LGBTQ communities.
"Collecting information on how LGBTQ people are experiencing the COVID-19 pandemic helps us to understand how overlapping social stigmas and discrimination can cause illness among people who are often marginalized, and how public health policies can intervene to stop the spread of disease," said Don Blanchon, CEO of the Whitman-Walker Health System, which oversees the Whitman-Walker Institute in Washington, D.C., one of the study's five partners.
The other federally qualified health centers involved in the study are the Callen-Lorde Community Health Center in New York, CrescentCare in New Orleans and Howard Brown Health in Chicago.
Also involved is the Stanford Medicine-based The PRIDE Study with a collaborating site at UC San Francisco.
Tagged: center, COVID-19, Experiences, L.A., LGBTQ, people, Studied
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Probably 1821 when the Tanat Feeder was realigned to enter above the upper lock. The bypass helped regulate the water supply at N end of Montgomeryshire Canal.
By-pass pond with curving rubble revetment, culverts brick-lined with repairs in later C19 blue brick. Spillway refaced in modern engineering bricks. Paddle gear in centre of spillway; rack and pinion system built on wooden frame with separately braced ratchet catch.
Included for group value with the other canal structures in an exceptional location at Carreghofa Locks.
Close to north side of upper lock and lying to the east of the former Wharfinger's House.
Lies between the former Wharfinger's House and the Gauger's Hut on the north bank of the upper lock.


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AN NCS PREMIERE: EVAPORATED SORES — "ROTE RESURRECTION" AN NCS ALBUM PREMIERE (AND A REVIEW): UPCDOWNC — "SCORE"
AN NCS PREMIERE: SPECTRUM OF DELUSION — "AWAIT THE TRANSITION"
Premieres Add comments
We've already seen, at least twice over, that the Dutch technical death metal band Spectrum of Delusion (and their film-making allies) are extremely clever when it comes to preparing videos for their forthcoming second album Neoconception.
The video they made for "Into Another Formation" is still one of my favorites of the year. The fact that it was filmed in a single take is astonishing. The fact that they were able to pull it off while having a good time is all the more impressive. And their full-band playthrough video for "Through Mankind's True Ambition", in which they fly like crazy across their instruments (and roar in rage) in various placid locales is an enormous kick to watch.
And now we add one more piece of audio-visual entertainment to those, as we premiere "Await the Transition".
Here, the goings-on in the video are more mysterious — though not entirely devoid of humor. The appearance of the members glumly lip-syncing the vocals in the midst of mind-boggling musical riot does bring a smile, but it soon becomes apparent that they are about to be subjected to some form of electro-mechanical modification, which involves the placement upon them of strange helmets and the skewering of their craniums with electrodes — a process that begins to produce facial quivering and twitching.
The music itself produces mental quivering and twitching, and a high-voltage stimulation of the entire nervous system, but the effect is sublime in addition to electrifying. Rhythmically, the music gallops, bludgeons, and cavorts, and the growled and screamed vocals are authentically rabid –all of that will quickly make friends with your reptile brain. But your higher faculties (such as they are) will be what's engaged by the band's adventurous escapades with their many-stringed instruments (including a prominent fretless bass).
They do leaven the pyrotechnic shred-fest with an episode of soft mysterious ephemerality, and somehow insinuate other elements of strange, ominous, gliding melody into this head-spinning thrill-ride of a song, which is well-suited the imagery in the video. There's a sense of a strange and dangerous transformation in progress… perhaps an assimilation into a mechanical hive-mind,,, but how it will end is still a puzzle.
We'll give you a chance below to watch and listen to all three videos released so far, including today's premiere, and to marvel at what the band have accomplished through their four years of work on Neoconception, which is likely to appeal to fans of such bands as Beyond Creation, Spawn of Possession, Suffocation, Obscura, Blotted Science, The Faceless, and Defeated Sanity.
The album will be released by The Artisan Era on September 11th. It features cover art by Caelan Stokkerman, known for his work with bands such as Soreption, Cattle Decapitation, Misery Index, Exocrine, and more. It also includes guest appearances by guitarist Nick Padovani (of Equipoise and Virulent Depravity) on multiple tracks, guest vocals from Disavowed and Arsebreed vocalist Robbert Kok, and several voice-over actor spots across the rcord to further elaborate the concept album's storyline.
PRE-ORDER:
https://geni.us/SOD-MERCH
https://smarturl.it/SOD-BANDCAMP
SPECTRUM OF DELUSION:
https://www.facebook.com/SpectrumofDelusion
Neoconception by Spectrum of Delusion
Posted by Islander at 9:53 am	Tagged with: Spectrum of Delusion


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OR11L1
CELL ATLAS RNA EXPRESSION GENE/PROTEIN
Human cell
Please wait until image is loaded before changing channels
Olfactory receptor family 11 subfamily L member 1
Protein classi
Assigned HPA protein class(es) for the encoded protein(s).
G-protein coupled receptors
Number of transcriptsi
Number of protein-coding transcripts from the gene as defined by Ensembl.
HUMAN PROTEIN ATLAS INFORMATIONi
Summary of RNA expression and protein localization based on data generated within the Human Protein Atlas project.
Summaryi
Annotated subcellular location(s) for the encoded protein(s) based on the human cells assay. The location(s) are highlighted in the illustration on the right.
RNA cell specificityi
RNA specificity category based on RNA sequencing data from all cell lines in the Human Protein Atlas. Genes are classified into six different categories (enriched, group enriched, enhanced, low specificity and not detected) according to their RNA expression levels across the panel of cell lines.
RNA cell distributioni
RNA distribution category based on RNA sequencing data from all cell lines in the Human Protein Atlas. Genes are classified into five different categories (detected in all, detected in many, detected in some, detected in single and not detected) according to their pattern of detected RNA expression across the panel of cell lines.
Protein evidencei
Evidence score for genes based on UniProt protein existence (UniProt evidence); a Human Protein Atlas antibody- or RNA based score (HPA evidence); and evidence based on PeptideAtlas (MS evidence). The avaliable scores are evidence at protein level, evidence at transcript level, no evidence, or not avaliable.
Evidence at transcript level
Main locationi
Main subcellular location(s) and reliability score(s) for the encoded protein(s) in human cells. The main location(s) may be characterized by presence in all tested cell lines and/or ihigher staining intensity compared to the potential additional location(s). If available, links to overrepresentation analyses in Reactome, a free, open-source, curated and peer reviewed biological pathway database, are provided. An analysis is done for the corresponding gene set of the proteome localizing to the main and additional locations of the protein on this page, respectively.
SINGLE CELL VARIATIONi
Summary of single cell variations on RNA and protein level based on data generated within the Human Protein Atlas project.
Cell cycle dependencyi
Cell-cycle dependance of single-cell varations in RNA and/or protein expression as observed in an additional assay for characterizing single-cell varations. "NA" indicates a lack of such data.
DATA RELIABILITYi
Overall reliability score for the subcellular location(s) of the protein(s) in human cells, and summary of the antibodies used for immunostainings.
Reliability scorei
Overall gene reliability score for the subcellular location(s) of the encoded protein(s). A reliability score is set for all genes and indicates the level of reliability of the analyzed protein expression pattern based on available protein/RNA/gene characterization data. The reliability of the annotated protein expression data is also scored depending on similarity in immunostaining patterns and consistency with available experimental gene/protein characterization data in the UniProtKB/Swiss-Prot database.
Pending cell analysis.
ASSAYSi
Links to data for different assays avaliable in the Cell Atlas. Click on the miniature images to directly get to the respective section.
RNA expression
RNA EXPRESSION OVERVIEWi
Overview of RNA expression levels in different cell lines analyzed in the Human Protein Atlas. The RNA-sequencing results generated in the HPA are reported as normalized NX values. In the Human Protein Atlas a NX value of 1.0 is defined as a threshhold for expression of the corresponding protein. The cell lines are divided into color-coded groups according to their origin in the human body. By clicking the toolbars in the top right corner it is possible to sort the cell lines in the chart by different criteria: the organ and the origin that the cell line was obtained from, the category of the cell line according to cellosaurus, alphabetically or by descending RNA expression. Detailed information about a specific cell line can be accessed by hovering over the corresponding bar in the chart.
RNA cell line categoryi
: Not detected
Cell lines ordered by organ of phenotypic resemblance.
Cell lines ordered by biological source for establishment order.
Cell lines ordered by category according to Cellosaurus.
Cell lines ordered by descending RNA expression order.
Cell lines in alphabetically order.
Assays for determining cell cycle dependency of RNA and protein expression, based on stainings in the U-2 OS FUCCI (Fluorescence Ubiquitination Cell Cycle Indicator) cell line, or a computational model for cell cycle position, or localization to cell cycle dependent compartments (e.g. mitotic spindle, cytokinetic bridge).
Summary of observed cell cycle dependency of RNA and/or protein expression. "NA" indicates a lack of such data.


Rock's formative stages can sometimes seem a bit confusing when looking back seventy years as of this writing in 2017, and I'm sure may have been even more so if you were around during that time itself, when the bits and pieces you heard of the emerging format were somewhat varied, far-flung and even at times unsure of themselves so to speak.
While you could tell that Roy Brown's Good Rocking Tonight captured a certain new and unique sensibility you might not have really known what to make of it. Had that been all that came out around the time in that vein it might've seemed to be something of a curiosity, not the beginning of any larger movement. More and more records that followed by various artists seemed to fit into the growing picture, but then again, as stated here before, you could've gone back a few months and found a few more that conceivably fit as well. What – if anything – did it all add up to?
The answer came soon enough, for what separated all of this joyous noise from the previous, and many subsequent, forms of experimentation in music was how different strains of that experimental nature all came together so quickly and joined forces to build towards something much greater. It certainly wasn't planned, we know that, but the resulting spirit that enveloped all of it as the last weeks of 1947 rolled up became a force unto itself, lifting up a certain type of record, drawn from disparate influences but amazingly fitting together like pieces of a puzzle, and the momentum generated by this groundswell carried them all in a fast-growing tidal wave of generational and cultural enthusiasm.
Soaring highest as this movement took off were a group from New York called The Ravens and like the story of Noah's Ark where a raven and a dove were sent out after the flood to seek land, these Ravens became the first artists to perch on the rock 'n' roll mountaintop.
The Ravens are, without question, the first rock "group", as in vocal group, and as such were vital in expanding the boundaries of the overall rock style just as it was getting started.
I don't think the importance of this can be overstated. ANY musical development is at risk for limiting its appeal and influence when – whether intentionally or just circumstantially – confining itself to a narrow and unchanging definition. Had The Ravens, or another group like them, not come along in the formative stages of rock's emergence would the entire genre had survived for very long?
It may sound ridiculous but that's a fair question to ask. That's not to say The Ravens popularity itself was what elevated rock as a whole, though it certainly helped – as Write Me A Letter was the first actual hit, full stop, on the national Billboard charts for the style as a whole – but rather that their presence assured the new style of music had much needed diversity right from the start.
Without that open tent policy of inclusion being established so early might rock have wound up setting rigid borders that kept it restricted to only that which conformed to whatever took hold first? Say only derivatives of Roy Brown-styled gospel-esque jump blues? Or perhaps, as we'll see soon enough, the growing dominance of the tenor sax instrumental might have turned rock 'n' roll into simply a designation for just that particular brand of musical mayhem and nothing else. If either became the case then rock as the cultural force we know would never have come about. It simply wouldn't have lasted long enough to, as the popularity of any single strain of something is always destined to have a relatively brief time limit.
But by the mere arrival on the scene of The Ravens, a group offering a distinctive new sound that somehow meshed perfectly with those impassioned Brown sides and the honking squealing workouts of crazed horn players that soon followed, the boundaries of rock grew broader and more inclusive right away. As such rock didn't allow itself to be seen as merely a one note musical fad or something easily passed off as a temporary craze but rather it showed itself to be the evolving musical voice of a generation seeking liberation from confinement, a clear and radical break from the past and a jumping off point for a different brand of earthy musical adventurism.
The black secular vocal group approach since the late 30's was defined primarily by two outfits, The Mills Brothers and The Ink Spots. In many ways those groups would continue to exert influence on the emergence of the rock vocal groups for another decade but the differences between their ilk and those who followed under the rock 'n' roll banner were striking and unmistakable.
Those older groups were more refined, sedate, mannered and had a polished style that allowed them, and in fact was often designed specifically, to cross over into the mainstream pop marketplace. In other words while they were black groups in terms of personnel they were playing under decidedly white ground rules of acceptance. Their phrasing, their precise enunciation, the way they shaded and rounded the edges off their harmonies, certainly the subject matter they chose and the musical accompaniment itself, all followed the game plan of the dominant white musical establishment.
That's not in any way to diminish them or their achievements but rather to point out just what was required to BE universally accepted at the time. They were massively popular within black communities all the same and not just because they climbed that seemingly unscalable mountain of mainstream acclaim which naturally was the source of great pride within a community not used to seeing such visible success, but also because they were just damn good regardless of what standards were being used to judge them.
But when rock came along some years later the far more rhythmic descendants of The Inks Spots and Mills Brothers began to emphasize and, as we'll soon see, exaggerate their unique (read: black) attributes in their deliveries, rather than mostly concealing them, or at least downplaying them, as those earlier acts had often been forced to do. This shift in approach immediately set the next generation of vocal groups apart as offering something different, daring and exciting.
No group embodied all three of those attributes more than The Ravens.
The Ravens had already cut a handful of records for the Hub label in 1946 including a song that would become a legitimate hit when re-released later on, but their real breakthrough came when Ben Bart, who'd later go on to manage and help guide James Brown's career, got The Ravens signed with National Records where in the spring of 1947 they cut a radical interpretation of "Ol' Man River", the Oscar Hammerstein composition from the musical Show Boat. Right away you knew these guys were different. There was a playful bounce to their version embodied by the backing vocals, "Do-do-do-doot!", over which bass singer Jimmy Ricks nimbly stepped out for the impossibly low lead part, something that was downright shocking in its audacity at the time.
Bass singers simply did not do such things. In fact, recording technology almost wouldn't ALLOW bass singers to sing so low, as the resulting groove cut by the lathe on the 78 RPM Records would be too wide to prevent the phonograph needle from jumping out when played so all bass vocalists were frequently required to hold back, lest they risk ruining the physical platter it'd be sold on. The Ravens ignored this industry edict and proudly celebrated their stylistic ingenuity, using it as their calling card. In live venues the group would bring the house down when they'd switch in mid-song from Maithe Marshall's unearthly high tenor (almost soprano) to Ricks's ball dragging bass and they were already earning a good deal of notoriety for themselves as a result.
By the fall The Ravens had become pretty well known, especially around New York City (Ol' Man River topped the Harlem Charts in Cash Box for more than a month in late summer in fact), but still were at least marginally at risk of being seen as, or turned into, a novelty type act because of the uniqueness of Ricks' bass leads. In order to prevent that they needed to keep the musical standards high yet at the same time find a way to take advantage of their greatest attribute which was the dichotomy between Marshall's exquisite tenor and Ricks earthy bass. What they really needed was an audience who would see them as something more than a gimmick.
Rock 'n' roll, in other words, was tailor made for them.
The record sounds at least five years ahead of its time. You could conceivably have released it in 1952 (and five years is an eternity in rock evolution) and it wouldn't seem the least bit out of place. Everything that the vocal group style in rock would become famous for over the next decade was present in Write Me A Letter. A little more laid back here perhaps, but already fully formed and wrapped in a truly delectable package… the insistent piano opening that seems as if it wants to tear through the speakers, the drums emerging to echo the beat laid down by the piano before they both take a back seat to the vibrant harmonies on the chorus that kicks off the vocals.
Most notable of all though is the sudden appearance of Ricks who closes out the opening refrain by himself before taking full control of the proceedings, a sound when he comes in that is still every bit as shocking now as it must've been then.
His voice is a thick mixture of honey and molasses, melodically sweet but with a slow languorous delivery that pulls you in, and then pulls you under, almost hypnotizing you in the process. His presence dominates the record, slyly imparting the lyrics with more than a hint of lecherous intent, not toning down a thing for an ill-attempted stab at crossover pop appeal as black groups previously had done almost without fail. There was no mistaking this was black music for black audiences, another way at the time of saying this was rock music for rock audiences. Whereas The Ink Spots, for all their brilliance, made sure to never alienate white adults, and courted them openly in fact, The Ravens almost seemed to be provoking those same white adults by boldly embodying the type of imagined leering sexual menace that society always feared if the shackles of Jim Crow were loosened too much.
What stands out most though, beyond the startling voice of Ricks, is the arrangement which gives the hint of being almost taboo in nature yet is accomplished by simply playing with the perceptions of the audience. Ricks' sleepy delivery mesmerizes, your eyelids grow heavy from the sound, but the stabbing piano interjections startle you back into full alertness. The two stop-time sections Ricks employs ramp up the suggestiveness without delivering anything off-color, unless of course you want to read something into the wordless moans he casually tosses in. They don't seem sexual in nature yet you're pardoned for thinking they are even if it's only your imagination convincing you of something sinister lurking under the surface. Implying something that's not quite there would be a hallmark of rock forever after.
It's not ALL Jimmy Ricks show however, as the soaring closing taken by the others decrying the mailman for not stopping at their door with a message from the girl in question (foreshadowing The Marvelettes 1961 chart topper Please, Mr. Postman more than a little) adds immeasurably to the feel, their trading off with Ricks' interjections as it heads into the coda are invigorating, keeping the group spirit alive, giving the record buoyancy and leaving you with a feeling of being energized even though the pace of the song itself never gets out of second gear.
Everything here plays off each other, contradictions abound – how the song can sound at once both decidedly slower and yet more uptempo than it actually is – and yet all it feels natural, almost organic in a sense. It's clearly designed to highlight their various strengths yet it in no way calls undue attention to their plot to do so. Its appeal is subversive in the best tradition of subliminal advertising.
The fact that this approach The Ravens took not only worked – connecting deeply with black listeners – but did so to such a degree that the record sold enough to cross over to the lower reaches of the pop charts, was a sign that this music that seemed so uncouth when compared to earlier forms had unexpected far-reaching appeal from the very start. Was it simply a case of curious white listeners sensing an unusual novelty of it, or more promisingly was it case of the growing economic power of the post-war, increasingly liberated younger black working class buying it in enough numbers to get it there entirely on their own?
Either way Write Me A Letter heralded a new day musically. Nobody at this point knew of course, or could probably even conceive of just HOW far reaching it would turn out to be, but with the release of this record, coming on the heels of the commotion caused by some of the records we've already covered, astute listeners could sense that something worth getting excited about was not just ready to happen but was already underway.
Most crucially however was rock music now had another weapon up its sleeve. By taking on this other dimension so early in its creation, and by reaching audiences in such a big way in the process, the entire genre now had a broader base from which to build. More variations on the basic initial models would quickly follow each giving rock an even wider foundation.
No less important was the long shadow cast by The Ravens themselves as the music evolved. For the next twenty-five years The Ravens would exert considerable influence in rock vocal circles. The "bird group" phenomenon – with countless groups for the next dozen years being named in virtual tribute to these young men – was the most obvious nod to their imposing stature. But musically the effect was similar. The early Drifters with their brilliant tenor Clyde McPhatter and bass singer Bill Pinkney, and later The Temptations, particularly bass singer Melvin Franklin, were just two of The Ravens disciples of the first order. You could even credibly say that Public Enemy, with the deep baritone leads of Chuck D. paired with the high finely-tuned whine of Flavor Flav, were Ravens descendants in a way. That intrinsic connection, the way rock music as a whole has the ability to form a continuous line through the years linking each new step to something that came before so that the entire movement never loses its forward momentum, is what has allowed it to remain so vital for decades.
So now step two of the building blocks rock needed were already firmly in place just a month into its life. Who knows, maybe this rock 'n' roll thing might catch on after all.
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After 2 days of intense battle (Watch the VOD here) two teams made it on top : Asus ROG Spain finish on top landing more than 30 kills during the final ! Congratz to DiegoGB & MateoZ but also to Xkumu, and his teammate tobiasv ! Two upcoming talented scandinavian players.
Next PostBesiktas Fortnite Open is here !


Because I am just a tad sexually frustrated this morning, I'm going to share a picture. It's not one of mine. Follow the link for the big picture. The title of this post is taken from one of the comments.
It might have been better in teal or turquoise with that skin tone.
If you can drag your eyes to the wrap.
TIp of the hat to TJICistan.


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Home » Resources » Pollution, place, and premature death: evidence from a mid-sized city
Pollution, place, and premature death: evidence from a mid-sized city
Resource created Sun, 11/01/2020 - 15:00 by Local Environment
Neighborhood life expectancy varies by as much as 10 years across the City of Louisville. In 2013, the Greater Louisville Project funded by local government, businesses, and foundations, argued these differences had little to do with environmental factors. The Greater Louisville Project (2013) study argued that these neighborhood differences could be attributed 40% to socio-economic factors (with a major emphasis on education), 10% to physical environment, 30% to health behaviors, and 20% to access to medical care. To test these claims, we construct our own model of neighborhood variation in years of potential life lost (YPLL) by adding two variables testing environmental degradation. We operationalise two separate measures of environmental contamination: proximity to EPA designated brownfield sites and proximity to chemical factories in an industrial park in the neighborhood known as "Rubbertown". We conduct several regression analyses, which show a relationship between proximity to environmental contaminants and an increase in neighborhood YPLL. Our beta weights challenge the claims made by the Greater Louisville Project, which minimize the impact nearness to environmental contaminants has on reductions in life expectancy in Louisville neighborhoods.
Local Environment: The International Journal of Justice and Sustainability, and its publisher Taylor & Francis, have partnered with Pando to feature select article abstracts. Click here to find links to the full article.
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Justice, Equity
John Hans Gilderbloom, Wesley L. Meares, Gregory D. Squires
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Infrastructure refers to the basic physical and organizational structures and facilities (e.g., buildings, roads, and power supplies) needed for the operation of a society or enterprise. Sustainable infrastructure refers to anything built...


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Glen will discuss his suspenseful new book, Mercy River, as well as titles by other authors that he is excited about.
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