Telco's skirting heater type TRLU is a low-temperature convection heaters. It's only 79 mm high. TRLU is a particularly solid heater designed for external controls. It is an ideal heat source for greenhouses, wardrobes, drying cabinets and other wet or dry rooms.
The heater is manufactured from extruded aluminium sections. The complete heating element is also made from aluminium and incorporates a heating coil, insulation, cooling fins and connection lead in one unit. This is a tried and tested design that provides excellent heat distribution and a long lifetime.
The heater must be fitted horizontally and is supplied with solid aluminium mountings.
Installation on the floor close to the wall is possible using special floor brackets.
Standard connection: Right hand side.
Splashproof and rustproof; can be used in wet rooms.
Fitting to walls: Heaters must be fitted horizontally and are delivered with sturdy wall brackets.


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C9A22247-E776-B892-2D807E7555171534
Adrian Summers '19 Awarded Newman Civic ...
Adrian Summers '19 Awarded Newman Civic Fellowship
Adrian Summers '19. Photo: Nancy L. Ford
Adrian Summers '19 has been named a 2017 Newman Civic Fellow by Campus Compact, a Boston-based non-profit organization working to advance the public purposes of higher education.
The Newman Civic Fellowship recognizes and supports community-committed students who have demonstrated an investment in finding solutions for challenges facing communities throughout the country. The fellowship is named in honor of Frank Newman, one of Campus Compact's founders, and is supported by the KPMG Foundation and by the Newman's Own Foundation.
An Africana studies concentrator from the Bronx, N.Y., Summers is president of Hamilton's Black and Latinx Student Union.
About AdriaN Summers '19
Major: Africana Studies
High School: High School of Medical Science
Hometown: Bronx, N.Y.
Read about other Fellowship Recipients
Among his community-based activities, he manages community outreach projects for underserved students in Utica, N.Y.
As ambassador to the Student Diversity Council and Student Assembly class representative, Summers spearheads initiatives to provide physical spaces for students to gather to address social issues. He is also a head mentor for the multicultural peer mentoring program. In addition to his service endeavors, Summers holds three campus positions: resident advisor, audiovisual technician and admission office overnight host coordinator.
Last summer at Hostos Community College in the Bronx, Summers worked as an ESL teacher for immigrant students. After graduation he hopes to work in education reform and access.
Through the Newman Fellowship, Campus Compact provides a variety of learning and networking opportunities, including a national conference of Newman Civic Fellows in partnership with the Edward M. Kennedy Institute for the United States Senate. The fellowship also provides fellows with pathways to exclusive scholarship and post-graduate opportunities.
Former "Jans" Provide Advice Former Hamilton President Honored Because Hamiltonians Sauté: Emma Laperruque '14
Fulbright English Teaching Assistantship
Julie Lin '17 Awarded Fulbright ETA to Taiwan
Michael Lubelczyk '17 Awarded Fulbright ETA to Germany
Michael Lubelczyk '17 has been awarded a Fulbright English Teaching Assistantship to Germany. A history major minoring in German, he studied at Eberhard-Karls Universität Tübingen, Germany, in 2016.
Alex Dennis '18 Named Barry M. Goldwater Scholar
Alexander Dennis '18, a computer science and math major, has been named a Barry M. Goldwater Scholar. It's the premier national undergraduate award in the fields of mathematics, natural sciences and engineering.

redpajama_set_name: RedPajamaCommonCrawl


In September 2018 Djabe introduced its album Flow at a largely successful concert. Praise was given not only to the music but to the extraordinary live surround sounding, also. Flow became popular even abroad and granted Djabe numerous American and European invitations.
By popular choice this surround gig once again is on the table, with the whole of Flow. But in 2019 Gulli Briem as a special guest, will be replaced by Ferenc Muck, a former member of Djabe, with whom the album Witchi Tai To will also be played.
Originally released in 1998, Witchi Tai To received the annual World Music award of 2000. The album re-released with a surround mix in 2015, becoming the best ever surround Djabe disc. At the Hungarian HiFi Show 2018, the 20-year Anniversary double-vinyl edition of Witchi Tai To was he biggest sensation. Djabe wanted the best possible sounding, and Miles Showell, audo engineer of Abbey Road Studios delivered the half-speed cut from remixed analogue master tapes. The two vinyls spin at 45 RPM, hence the best possible analogue sounding can be experienced.
Flow, the first studio album of Djabe renewed in 2016, hit the shelves in May 2018, in CD format. The music was praised by fans and critics alike. The release kept all the characteristics unique to Djabe, but Tamás Barabás and the band once again lept forward. New members not only bring musical finesse but built upon the musical world of Djabe. The rhythm section of Tamás Barabás (bass guitar) and Péter Kaszás (drums) literally re-invented the complete sounding. Peter's skilled and distinctive vocalization brings freshness to the world of Djabe. János Nagy once again proves that his reputation as one of the best Hungarian keyboardists is not for no reason. Áron Koós-Hutás, an old member returning after many years, became one of the most talented trumpet players of the Hungarian musical scene, and he is only at the beginning of his already ascending career. Most of the pieces were composed by Tamás Barabás, however, 3 of them are a joint effort with band leader Attila Égerházi (guitar). The culmination of Flow is pure Djabe, primarily thanks to musical parts written for specific musicians, by Tamás Barabás. These together provide the Djabe experience fans accustomed to. The second thing is the incorporated history, the ante-Djabe sounding, created by the joint pieces of Tamás and Attila.
Tamás Barabás once again excelled in his audio engineering duties: even the CD sounds first-class. But, as we are accustomed to, Djabe never settles for anything less then perfect: the audiophile vinyl version, cut from analogue master tape, hit the stores in September 2018. Standalone in Hungary, the album is available in 2-track master tape. The DVD-Audio release crowns the series, with HD Audio (24bit/96kHz) in both surround and stereo mixes.
This surround sounding will be performed on the stage of MOMkult, on 20th March 2019. With speaker systems all around the audience floor, Djabe is to create a gigantic, high-end home theatre where fans can enjoy the full experience of Flow.
The 1998 album made with the line-up Ferenc Muck (saxophone), András Sipos (vocal, percussion), Tamás Barabás (bass guitar), Attila Égerházi (guitar). Both the 20-year Anniversary Edition and the surround mix of 2015 (DVD-Audio) will be celebrated at the March concert. Classics like Witchi Tai To, Coffe Break, Visions, Desert and Early Morning Snow will play at the gig. Besides Ferenc Muck, the late András Sipos will also join Djabe on the stage, in the form of audio and recordings.
Android is categorized by neoprog and plays progressive rock. In 2009 they released "Édentől Keletre", an album containing only instrumental pieces. For its 10th anniversary, the band re-arranged and updated the material. This reborn "Édentől Keletre" is soon to be released on CD and vinyl. The concert features this new, updated version.


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Q: Counting number of characters using textViewDidChange in ios I have search this problem every where but i am not getting my result.
I have set textview as delegate.
I want to display the number of count in label "counter"
Can anyone tell me what is wrong with my code?
- (void)textViewDidChange:(UITextView *)textView
{
    NSString *substring = [NSString stringWithString:textView.text];
    //if message has text show label and update with number of characters using the NSString.length function
    if (substring.length > 0) {
           self.counter.hidden = NO;
        self.counter.text= [NSString stringWithFormat:@"%d characters", substring.length];
    }
    //if message has no text hide label
    if (substring.length == 0) {
        self.counter.hidden = YES;
    self.counter.text= [NSString stringWithFormat:@"%d characters", substring.length];
    }
}

A: Use this delegate method
- (BOOL)textView:(UITextView *)textView shouldChangeTextInRange:(NSRange)range replacementText:(NSString *)text
{
    NSUInteger strLength = (textView.text.length - range.length) + text.length;
    return YES;
}

A: Your code just hides the label but never shows it, when first characters arrive.
Instead of:
if (substring.length == 0) {
    self.counter.hidden = YES;

... always set the visibility:
self.counter.hidden = substring.length == 0;

redpajama_set_name: RedPajamaStackExchange


text:
Home Politics AU Delegates' Take On African Passport
AU Delegates' Take On African Passport
By Kennedy Sande -
Delegates at the 27th Ordinary Session of African Union Summit that concluded in Kigali, yesterday, commended Heads of State and Government and the Union Commission for introducing a Pan-African Passport and urged swift issuance to citizens. The passport was launched Sunday by the Commission Chairperson, Dr Nkosazana Dlamini-Zuma, with President Idriss Deby of Chad, the chair of AU, and President Paul Kagame, the host, receiving the ceremonial passport. The passport is not only expected to ease movement across the continent but also stimulate intra- African trade, according to officials. The New Times' Rodrigue Rwirahira spoke to some delegates at the summit. Here are what they had to say.
Louise Mushikiwabo, Minister for Foreign Affairs. 'The time has come for the popularisation process of African Passport to be started. Rwanda is prepared and we are already printing the African Passport. The passport portrays the roadmap through which we seek to move African integration.
We expect that countries will start on modalities and enter into discussions with the African Union Commission to print each country's Pan-African Passport.'
Eloge Agani, technical advisor to the Benin President. 'I think that the newly-launched African Passport is a good initiative in the first place, but for that to function, more concrete measures by member states of the African Union will be much more required. There are notable priorities at play for the moment, like removal of visas for Africans travelling to their African countries. We don't have to forget that there are countries that up to now still make it difficult to visit, thus flexibility from member states will make this initiative successful.'
Dr Mary Tapgun, a delegate from Nigeria. 'Although I am not fully abreast with the detail of how the new African Passport will operate, I believe it is a good initiative that is likely to change a number of things at the continental level, in line with the visions of this continent that we all love. Time is now for member states to embrace it and work toward its full realisation.'
Raymond Balima, Director-General state protocol, Burkina Faso. 'This is a step forward in the unity slogan as it was expressed. We are one people and live on one continent, but we shall wait to see the implementation. The initiative will make us feel linked and related. For once, Africa will be stronger to support its independence and sovereignty and this will boost trade on the continent. We are banking on Heads of State and Government to have it popularised.'
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Kennedy Sande
https://sandekennedy.com
Sande Kennedy is the founder and Editor in Chief of SandeKennedy.com & Kenyans247.com He is a Kenyan-based Internetprenuer,blogger Political Activist & informer who has an interest in politics, governance, corporate-fraud and human-interest. Kindly drop me a note if you feel aggrieved on any matter that you would want to be highlighted WhatsApp: +254791890826 Read More about me here
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Paint Splash Logo is the perfect logo reveal for your next colorful opener, kids promo or fun presentation. Just add your logo, edit the text and render an eye-catching animation. No plugins are required and it's very easy to use and customize. Amaze your viewers with this Premiere CC 2017 template. Cheers!


NOTE: Operation WorldView, Session 1 (the first half of the Biblical component) is not available for preview here.
This is the second half of the Biblical component of Operation WorldView, featuring Werner Mischke completing the teaching called "The Story of His Glory," based on the article by Steve Hawthorne — an overview of Scripture with God's glory as the theme. Included at the end of this session is a video segment from "Ee-Taow!", from New Tribes Mission, which is used by permission.
Key question for Biblical component: What is the Story above all stories?
In The Story of His Glory, Steven Hawthorne says, "Worship fulfills the love of God. God loves people so vastly that He…wants to bring them into an honored nearness to Him." Werner Mischke and Bob Schindler are teaching this drama of worship and love, The Story of His Glory, as part one of Operation WorldView.
Ancient Abraham is our 'grandfather;' we are in The Story!
Our hours are 9 to 5, Monday thru Friday, Mountain Standard Time.
NOTE: Operation WorldView, Session 4 (the second half of the Historical component) is not available for preview here.
Key question for Historical section: What does it mean, the Kingdom strikes back?
Answer: God's Kingdom always strikes back against His enemy Satan—by the voluntary obedience of His people—or by involuntary means—so that God's eternal global purposes are accomplished.
How many Christians look at the sweeping changes in history through the lens of God's unchangeable purpose—to bless all the peoples of the earth for His glory?
Dr. Ralph Winter's article, "The Kingdom Strikes Back," is a broad overview of biblical history and Western history. His conclusions are full of weighty significance for believers today.
What emerges is a greater understanding of our global mission responsibility—and a higher view of God so that we see Him above history, sovereign over the affairs of nations—One who is passionately committed to gathering worshipers from every people, and thus extending His blessing to all the families of the earth.
God's passion to extend His glory among all peoples is exhibited in the Old and New Testaments, and in history.
NOTE: Operation WorldView, Session 6 (the second half of the Cultural component) is not available for preview here.
This is session 5 of Operation WorldView, featuring Bob Schindler teaching the first half of the Cultural component. This lesson teaches basic worldview concepts based on the book by Darrow Miller, "Discipling Nations: The Power of Truth to Transform Cultures." Included near the end of this session is a video segment from "Transformations 2" describing the spiritual revival that occurred in Uganda; this video segment is used by permission of The Sentinel Group.
Key question: for Cultural component: What is the Romance of the universe?
Answer: God the Father is choosing for His Son a Bride comprised of people from every tribe and tongue and nation.
Special media: Video clip about the amazing revival and transformation that has taken place in Uganda, from "Transformations 2", by The Sentinel Group.
There is a Story that beautifully transforms individuals, communities, and nations. What is that transforming Story? It is the Story we find in the Bible — of God revealing His glory to all the peoples of the world through Jesus Christ.
In the first half of the Cultural component the distinctive power of this transforming Story is presented. Darrow Miller states in his book, Discipling Nations, that this Story should shape our view of life; for it is the true worldview, the biblical worldview. Contrasted are the animistic and the secular worldviews, which inevitably lead to cultures of despair.
The second half of the Cultural component explores the Romance of the Universe — with images as diverse as wedding pictures, beautiful landscapes, and photos of galaxies taken from the Hubble telescope — all to demonstrate the creative majesty of God.
Then, a variety of Scriptures are presented that describe the Romance of God the Father — choosing for His Son a Bride, comprised of people from every tribe and tongue and people and nation. It's deep, beautiful, delightful!
Three basic worldviews: 1) The animistic worldview is essentially spiritual. 2) The secular worldview is essentially physical. 3) The theistic worldview is essentially relational.
Each worldview comes from a different "story," producing drastically different results.
The gospel of Christ — The Story of the Glory of God — is "The Transforming Story" by which nations are discipled.
The universe is a stage for the romance of Christ and His Bride, the Church.
Romance is the meaning of the universe; therefore, the Christian life is not about duty, it's about DELIGHT! Duty is good; delight is better!
Giving yourself to world missions means participating fully in the Romance of the universe.
NOTE: Operation WorldView, Session 7 (the first half of the Strategic component) is not available for preview here.
This is session 8 (Strategic component, Part 2) of Operation WorldView. It begins with Werner Mischke leading a two-minute review of the key questions and answers of Operation WorldView. This is followed by two short videos promoting the course, Perspectives on the World Christian Movement. Then … "6 Ways to Reach God's World" … a series of short videos to help followers of Jesus Christ consider how they can get involved in blessing the peoples and nations of the world.
Key question for Strategic component: What is your Destiny in God's Story?
Answer: The Story of His Glory is the story of my Glory.
In this fourth and final component of Operation WorldView, the remaining task of world evangelization is described through video, maps, and diagrams—all in the context of "The Story of His Glory," and God's plan to bless all the peoples of the world.
Special emphasis is also given to helping students understand that the Perspectives course is an outstanding next step in becoming a world Christian.
A significant portion of the eighth and final session of Operation WorldView consists of the outstanding short videos from OMF International, 6 Ways To Reach God's World. There's an intro video, followed by a 5-minute video for each of the "Six Ways" … Learn … Pray … Go … Send … Welcome … Mobilize.
The way we are allocating our resources for mission can be vastly more effective.
Our glory is awakened as we worship Him and declare His glory among all the peoples of the earth.
You should consider taking the Perspectives course as a next step in your destiny in God's Story.
Which of the 6 Ways To Reach God's World are a good fit for you?


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Chloe & the Steel Strings is an up & coming Americana band from Toledo, OH. Acoustically driven, the Steel Strings have spent the last five years crafting their unique sound of singer-songwriter Americana with a dash of psychedelic headspace. With weaving rhythms and gorgeous vocals, the band's sound has been described as if "Joni Mitchell had a baby with the Flying Burrito Brothers."
Chloe & the Steel Strings recently released their debut album, Burn Bright, in early 2022. The album was written and self-recorded in their home, and touches on topics of self-actualization, finding true purpose, and following your heart.
Alan Goldsmith – WAKT RADIO
"The band's new record, Burn Bright, is one of the most stunning and
beautiful Americana rooted recordings to come out of the area in
years. Chloe's voice is controlled and melodic and calls to mind a grainy, jazz and country-fueled mix of influences including Emmylou Harris, Margo Timmin, Norah Jones, and other vocal powerhouses."
Americana Music Show
"Their sound seems somewhat pure country, but there is always a vaguely trippy element to the sound… a certain psychedelic color. Very enjoyable. Makes you think of a summer day hanging out in the back yard."
Minkin's Music
"All the occurrences in Chloe's life she took as signs that the path to be a full-time singer/songwriter was presenting itself. My feelings are that she has chosen… wisely."
FRED LEFEBVRE – IHEART RADIO
"Chloe & the Steel Strings' latest album 'Burn Bright' has a sound reminiscent of early Poco, Fairport Convention & the Grateful Dead: just trippy enough to be trippy, without being too psychedelic. It's like Judy Collins, Joan Baez or Joni Mitchell had a baby with the Flying Burrito Brothers."
Chloe Wagenhauser
Lead Vocals & Rhythm Guitar
Born and raised in Toledo, Chloe has become a well-known name in the NW Ohio music scene. She began teaching herself guitar at 14, and used the instrument to channel her voice and songwriting.
Upon meeting Connor in 2016, she was encouraged to record some of her original songs. These recordings became her debut album, Chloe & the Steel Strings.
Chloe graduated from the University of Toledo in 2019 with a degree in Biology and Chemistry, and declined a seat at the University's Medical School to continue pursuing music.
Anna Wagenhauser
Keys & Harmonies
Anna's passion for piano performance began in junior high. Upon entering high school, Anna and Chloe started playing school events, talent shows, and battle-of-the-bands.
While studying at the University of Toledo, Anna continued to accompany countless students in their casual and professional music pursuits.
"Marketing manager by day, musician by night" is how Anna likes to describe her days. She currently works for the Sales and Marketing company COACT as the head of the marketing department.
Anna graduated from the University of Toledo in 2019 with degrees in Economics and Psychology, and a minor in piano performance.
Connor Ward
Bass Guitar & Backing Vocals
Hailing from the greater Cleveland area, Connor began studying upright bass at age 9. He performed in various orchestral settings from the 4th grade into college, and picked up bass guitar in early high school. He co-founded the psychedelic-blues band Spilled Milk with guitarist Eric Stuehr & drummer Cody Podsiadlo in 2013.
While attending the University of Toledo, Connor met Chloe through an open mic night. The two have been playing music together ever since.
Connor graduated from the University of Toledo in 2018 with a bachelors in Finance and Marketing, and went on to complete his MBA in 2020.
Eric STuehr
Lead Guitar
Eric has been living the rock and roll lifestyle since picking up the guitar at age 12. Over time, Eric began sitting in at local gigs with his guitar teacher and other seasoned musicians in the Cleveland area.
After an impromptu jam session with Connor and life-long friend Cody Podsiadlo, the three went on to form the band Spilled Milk in 2013. They spent their later years of high school in Eric's parents' basement, where they practiced almost every night (thanks Dennis and Bonnie)!
Eric graduated from Case Western Reserve University in 2019 with a degree in Mechanical Engineering, and currently works at the Cleveland Clinic.
Cody Podsiadlo
Cody picked up the drums for the first time in 2013 when he, Eric, and Connor began playing together in the psychedelic-blues band Spilled Milk. After countless jam sessions in the Stuehr's basement to develop his skills, the band went on to perform extensively around the Cleveland rock scene.
Cody currently plays drums, hand & aux percussion. He graduated from Kent State University in 2019 with a degree in Business Administration and is a store manager for Menards.
Press & Booking
Geoff Burns
gburns91182@gmail.com
General Inquiries & Booking
chloeandthesteelstrings@gmail.com


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Suzi Ruffell: 'Then it becomes therapy rather than comedy'
Brian Donaldson
Rising stand-up star discusses her new show Nocturnal
Having earned her stand-up stripes supporting the likes of Romesh Ranganathan, Joe Lycett and Josh Widdicombe on tour, Suzi Ruffell is now hitting the nation with a new show about her inability to stop worrying.
The new show, Nocturnal, is about your tendency to fret. What is your general level of worrying?
Being a worrier is a trait in my family. And it gets passed on. My mum was terrified of spiders when I was a kid, and I am now terrified of spiders. In the show, I wonder whether the world is getting better or worse, so I've been looking up about plastic and how bad wrapping paper is and worrying about all that. And there are smaller things that go around my mind, like making sure I had time at Christmas to do nice stuff with my mum. And then there are the classics, like dying and not having a pension.
So do you find it difficult to leave your woes behind on stage?
Doing a show about heartbreak [2017's Keeping It Classy] actually made me feel better. Turns out that doing a show about my anxiety has only confirmed that I'm absolutely right to wake up in the middle of the night and worry about things. When I was a teenager I used to think that when I got to 30, I'd have it all worked out. I'd say that I probably know less now.
You appeared on Comedy Central's Roast Battle ripping apart comedy chum and podcast partner Tom Allen. How easy was it to tear into your mate?
If I had a massive secret I'd be a bit worried about doing something like that because you don't know what the other person is going to say beforehand. But my stand-up is so confessional that there was nothing that Tom could say that people didn't know already. You get used to fine-tuning your material to be on something like Live At The Apollo, but when you do a show like Roast Battle, you're doing new jokes live on telly in front of Katherine Ryan and Jimmy Carr, and you just don't know how it's going to play in the room. Nine times out of ten you're right about your material but then there is the odd one when the audience go, 'no it's just you that thinks that'. So, then it becomes therapy rather than comedy.
Do you have any long-term comedy plans?
I have ambitions but having plans doesn't really work. That's something I've learned from this industry. I've done bits of acting and bits of other stuff, but touring and live stand-up are the things I love. Having supported Josh, Romesh and Joe, I've played some of those rooms that are 1200 seaters and a bit bigger. Those sort of rooms are small enough to make it feel intimate but big enough to make it feel like an event. Headlining those old theatres and going in people's diaries six months in advance: that's the dream for me.
Suzi Ruffell: Nocturnal is on tour until Saturday 25 May.
Suzi Ruffell: Dance Like Everyone's Watching
The comedian discusses her currently happy state of being, and whether comedy can only arise out of misery.
Andrew Maxwell: 'You can say anything to an audience as long as it's true'(27 Feb 2020)
The acclaimed and near-veteran Irish comic takes Reality on tour
Laura Lexx: 'It's really hard to be a good person'(29 Jan 2020)
Award-winning rising star takes Knee Jerk on tour
Andy Parsons: 'The most fun you can have on stage is when you're walking a tightrope'(6 Nov 2019)
The former Mock The Week stalwart is Healing The Nation with his latest tour
Ardal O'Hanlon: 'I was the only one in the corner retching'(2 Nov 2019)
Bestselling author and sitcom star talks about his previous crippling stage fright and why being a victim of crime once seemed far preferable to talking in front of strangers
Ashley Blaker and Imran Yusuf: 'It's incredible how much we are alike. Thankfully, we never seem to run out of material!'(16 Oct 2019)
The orthodox Jewish comedian and devout Muslim comic talk about joining forces and their unlikely, but valuable, double-act
Paul McCaffrey: 'I wouldn't say that I'm growing old disgracefully, but there's certainly an arrested development there'(22 Mar 2019)
Acclaimed stand-up heads off on his first national tour
Comic Garrett Millerick: 'They don't let you fuck around in Glasgow. If it's not good enough they'll tell you'(15 Mar 2019)
Comedian raised his already excellent stand-up game last year with a show that mined personal trauma
Phill Jupitus: 'I've found a way of monetising a social dysfunction'(20 Feb 2018)
Comedian is taking his Juplicity show around the UK, but it might just be an excuse to visit his favourite museums and record shops
Profile (Comedy)
Suzi Ruffell
Online comedy shows you can watch from the comfort of your home


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text:
Q: is there a way to get a function to repeat itself if a condition isnt met I have something like this:
static int cantryagain=0;

private void myfunction(){

if (cantryagain==0)
{
    if(variableA=1)
        {
        //do my stuff
        //ta daaaa
        }
        else
        {
        //do something magical that will help make variableA=1 but
        //if the magic doesnt work i only want it to try once.
        tryagain();
        }
    }
}

private void tryagain
{
    myfunction();
    cantryagain=1; //to make sure the magic only happens once, but
            //obviously it never gets here as it does
            //myfunction again before it ever can...
}

I know this code is super lame. I'm fairly new to c#.
How could I correctly make something like this?

A: You're looking for a loop
while(somethingNotMet){
    //do something
    somthingNotMet=false;
}

A: If you really want to do this without using a loop, you can use an optional parameter and call the function recursively:
private void myfunction(int recursiveCount = 0)
{
    if (recursiveCount > 1)
    {
      // give up
      return;
    }

    if (variableA == 1)
    {
      //do my stuff
      //ta daaaa
    }
    else
    {
      myFunction(++recursiveCount);
    }
}

To use it just call the function without providing the parameter:
myfunction();

A: What you're looking for is called a do while loop!
int attempts = 0;

do
{
     hasWorked = someFunction();
     attempts ++;
}
while(!hasWorked && attempts <= 1)

While (lol) I'm here, I thought I'd show you another type of loop, called a For loop. This type of loop is used when you know how many times you want your code to run.
for(int x = 0; x < 10; x++)
{
    Console.Writeline("Hello there number : " + X);
}

This will print out:
Hello there number 0
Hello there number 1
Hello there number 2
...
Hello there number 9

A: yes, you want to put the function in a loop, and have the function return a boolean indicating whether or not it should be run
  private bool myFunction() {
    Random random = new Random();
    return random.Next(0, 100) % 2 == 0; // return true or false, this would be your logic to implement
  }

  public bool doSomething() {
    var tryAgain = false;
    do {
      tryAgain = myFunction(); // when myFunction returns false, the loop condition isn't met, and the loop will exit
    } while (tryAgain);
  }

A: If you only want to try once more
static int cantryagain=0;

private void myfunction()
{
    for (int i = 0; i < 2; i++) // will loop a max of 2 times
    {
        if(variableA=1)
        {
            //do my stuff
            //ta daaaa
            break; //Breaks out of the for loop so you don't loop a second time
        }
        else if (i == 0)  // Don't bother if this isn't the first iteration
        {
            //do something magical that will help make variableA=1 but
            //if the magic doesnt work i only want it to try once.
        }
    }
}


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1. What is The Margaret Home?
a. The Margaret Home, located in East Rochester, NY, is a tax exempt 501 (c)(3) organization. The Margaret Home is expanding quality care services to pregnant moms who are experiencing homelessness or unstable living conditions in the Rochester region.
b. The mission is to provide pregnant women in need with access to a caring and self-sustaining home environment along with training, employable & entrepreneurial skills.
2. Where is The Margaret Home (TMH) located?
a. The TMH is located in East Rochester, NY in a redeveloped 7,749 square foot building.
3. When will the TMH open?
a. The Margaret Home is due to open in mid-May, 2019 for the first cohort of 8 women.
4. What kind of services can women obtain at TMH?
a. The Margaret Home's goal is to provide pregnant women in need with access to a caring and nurturing home environment. They will also have access to training, skill development and connections to educational and employment opportunities. Our ultimate goal is to enhance a woman's career potential and her sustainanable income for her household. Women will also be encouraged and supported to advance their long-term educational goals by linking them with degree or certificate-based education providers.
5. How long can women stay at the home and what is the goal at the end of their stay?
a. The maximum length of stay is 24 months from date of admission.
6. Why should women I be interested in The Margaret Home verses other services in the area? What makes this home different?
a. TMH offers expanded care services to homeless, pregnant women and their children in the Rochester region for up to 24 months where the stay in other homes is much shorter in length. The added length of time allows for access to a caring and nurturing home environment.
b. Women will also have access to training, employable skills, entrepreneurial skills and connections to educational opportunities. Other homes assist with links to educational porivders; we decided to go futher and provide women employment and career opportunities. Our goal is to increase income for her household, because a woman is 28% more likely to fall into a cycle of poverty if she does not have access to employment to secure a sustainable future for herself and her child; this number is compounded if there is a loss in time (hours) and wages post pregnancy.
7. Is there a criteria(s) to live in The Margaret Home?
8. What does it cost to stay at TMH?
a. There is no cost to the women to live in the home or for participation in the programs. Our desire is to minimize the financial burden placed on women while in home. To accomplish this goal, we look to secure private partners (individuals, employer partners or organizations) to invest and sustain the home's operational and program expenses.
9. What if a woman is not interested in completing the recommended 24 month stay in the home?
a. If at any point, a woman decides that she would rather pursue a life outside the home, the on-site Case Manager will refer her to appropriate housing & coordinate the transition.
10. What kind of education support is provided to the women in the program?
a. Women will be encouraged and supported to finish high school, obtain a GED, associate's degree or certificate-based education as a long-term strategy. The on-site Case Manager will help link women to eduation providers in the region.
11. What types of training are provided at the TMH?
a. Life Skills - Women will be encouraged and supported to finish their long-term education goals. An in-house marketable and life skills series will be provided to allow women to feel comfortable in any job or business environment.
b. Job Training Track - Women will participate in The Margaret Home model to access job training track and to increase skill levels, job readiness, career pathways and sustainable household income.
c. Entrepreneurial Skills Track - Women may choose the Entrepreneurial Track to gain skills and experiences to thrive and to work in small business environments; making them marketable to local small businesses while providing access to local jobs and increased household income.
12. Where will the Life Skills Series take place?
i. Enhancing skills in areas such as: communication, conflict resolution, leadership development, performance management, customer service, critical thinking, teamwork, timeliness, attendance, employee culture, and professionalism. Training is provided at no cost to the students. This training is most often provided to students before beginning external Part-time Employment with an Employer Partner worksite.
13. Where will the Job Training and Entrepreneurial Tracks take place?
14. What kinds of work experiences will the women have exposure to during their time at the TMH?
a. After completing either the Job Training or Entrepreneurial Tracks, the women will be connected with an employer for their part-time work to gain "real world" opportunities.
i. [Part-time work] Women can work with an employer partners on a part-time while caring for her child; we envision women working part-time with employers (5- 10 hours) per week. Part-time provides experience and exposure to the workplace and would be paid for their hours work by the employer.
15. What additional support services does the TMH offer?
16. What happens after I graduate from a TMH?
a. TMH Case Management Team will provide career support for up to 3 years after graduating from the home. Our goal is to also track advancement and family income / sustaining wages. TMH graduates are encouraged to attend events and help promote the home to the general public.
17. How do I enroll in the TMH?
a. An application is required, along with a comprehensive assessment that is conducted by the In-take Team. Staff of the home can be contacted at the home to field questions and explain the application process.
18. When is the TMH open?
a. The Margaret Home is not open to the general public. Staff of the home can be contacted to set up an appointment or field questions.
19. Is the TMH accessible for those with disabilities?
a. No. The building's design and previous use did not take into consideration access to people with disabilities.
20. Whom should I contact with additional questions?


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text:
Go to the database!
Cousins Across the Ocean
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The Emigration Story
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Icelandic Roots
Free Writing Class For Icelandic Roots Members
Following the success of this fall's three-part webinar series on memoir writing, we are now offering a free six-week class on the subject to Icelandic Roots members.
Depending on enrollment, the classes would begin in mid-to-late January 2023 and would feature weekly Zoom group sessions. Each session will be one hour in length. There would also be an opportunity for one-on-one sessions with the class leader so enrollment will be capped to 10 to ensure that each writer gets equitable and adequate time with the leader and with the other group members. Should more than ten people be interested, the class may be offered again at a later date.
It is a good opportunity for beginning and/or emerging writers to share their project with others and also to share frustrations and successes as their work progresses.
At the end of the six weeks, participants will have a short article, or the beginnings of a longer project completed. Connections will have been made with other Icelandic Roots members who are involved in the same kind of project, and all will have a basic understanding of narrative structures and how to sustain them.
Sharron Arksey, Icelandic Roots volunteer and co-leader of the Writers Group, will lead the sessions.
Sharron is a graduate of the School of Journalism at Ryerson University in Toronto (now known as Toronto Metropolitan University) and has worked for several community and farm publications. For 25 years, she wrote a weekly column called Rural Routes for two publications out of Portage la Prairie, MB. In 2000, she published a compilation of selected excerpts from the column.
She has contributed fiction, non-fiction, and poetry to publications across Canada and her debut novel, The Waiting Place, was published by Winnipeg's Turnstone Press in 2016. The novel was a finalist in two categories – first novel and woman writer – at the 2017 High Plains Book Awards in Montana. Learn More about Sharron HERE.
If you are interested, please register early so that dates and times can be confirmed as quickly as possible. Once we have a class list, we can make decisions on days and meeting times that work for participants.
To register for the class or to request further information, contact Sharron or Becky. (Outreach (at) IcelandicRoots.com)


I've been meaning to write this for quite some time now. Actually, I've been meaning to write this for 14 days. But every time I sit down at the computer I just kind of stare at the blank Blogger page. There are words here, but they don't want to come out. There are important ideas and thoughts and emotions, but I can't seem to get them straight to make something out of them. Probably because this post hurts a little. This post is my "April is Autism Awareness Month" post.
Autism has been around this family for awhile now. If one can be used to such a thing, then I'm used to it. I think I, probably better than anyone else, understand Sweet Girl and what it takes for her to get through a day. I have a pretty good sense of what needs to happen, what needs to not happen, and how we can deal with life intervening on both fronts. We work hard so that the world is not too much, yet still ever-present for a little girl who prefers to live in her mind. She rises to that challenge sometimes beautifully, sometimes maladroitly, and sometimes not at all. It's often hard for me to watch and it is never easy for her.
And the truth of the matter is, I'm angry about that. I'm angry about autism. I love my daughter regardless of labels and ability; mountain high and valley low. My heart is wrapped around her like a second skin. I am not angry she has autism (though I've certainly had my moments of "Why her?" as it seems that there really is no rhyme nor reason to where autism turns up next). I am angry autism still exists. That when her pediatrician said that I was probably right, the only thing I walked out of the office with (besides Sweet Girl) was a shoulder squeeze and a "Best of luck." I am angry that the mainstream medical community's "no known cause/no known cure" serves as the end all be all on the subject. I am angry that the CDC is still studying rates of incidence despite three decades of exponential growth in the diagnosis. I'm angry because everyone is so busy jumping back from autism with their hands in the air and saying "Not my fault!" that no one is making any progress on that front at all.
I know I'm not the first person to be angry about a disease. I know some childhood disease have been around much longer than autism with little in the way of treatment. But if you aren't aware of autism yet, if you don't have a child, know someone with a child, have read about someone with a child with autism yet, you're either removed from all society or willfully obtuse. The rate of incidence of autism has skyrocketed since the early 90s. It now affects approximately 1% of children born in the US. In the world the US ranks second (behind Great Britain) in autism rates. And we are still quibbling over whether it's real or not. It's real. It may not be the child in the corner rocking back and forth that many people expect, but it's real. As a matter of fact, as I write this, it's outside playing in the sandbox.
I could bore you with statistics; list theories of genesis and causation; discuss the higher rates in military families and Somali-Americans in Minnesota; tell you that we should take this seriously because we're raising more and more children that will not be able to care for themselves as adults, but all of that means little if you don't know what autism takes. Because autism takes a lot. Autism takes away milestones. It takes patience. It takes money. It takes all kinds of therapies. It takes time. Autism takes away words. It takes away friends and families. It takes a huge effort for everyday tasks. Autism takes everything you throw at it, and gives little in return. I'm lucky, blessed beyond lucky as a matter of fact, because I saw autism take most of Sweet Girl and I've seen, every day, more and more of her come back. Not everyone is that lucky though. Because autism takes. And if we're not careful, if we don't move beyond awareness to action soon, it will take a generation. It will take a generation and that's impossible to get back.
So it hurt me a little to write these words, but not nearly as much as it will hurt me if I have nothing new to write about next April.
I think you should install a weep-o-meter on this blog for your family members. We're good criers, you know, and we love you and yours so very, very much.
You already know how I feel, from visiting me over there on the Diary. I think you're inspirational! You already know more than I ever did, and knowledge is power. Combined with love...unstoppable.
You are a wonderful mother and I wish more kids could be as lucky as yours. If you ever need anything, just call.
@Carrie - Maybe we can put one in for family gatherings and make it an alternative energy source?
@Megan - Thank you! That means a lot to me.
I like the alternative energy source idea. It has definite possibilities.
That was the most beautiful, articulate piece --- on anything --- I've read in a long time. I know one family that has a few high-functioning Ausperger's Syndrome members, but that's it, until I found the blogs of so many mothers talking about their kids. It's appalling that more isn't being done. Maybe because no super-rich or super-powerful family has experienced enough of it to fund research?


text:
Tobias Klein (Saarbrücken, 1967) is een Duitse altsaxofonist, basklarinettist en componist in de jazz en geïmproviseerde muziek.

In 1990 ging hij naar Amsterdam, waar hij studeerde aan het conservatorium (saxofoon, basklarinet en Zuid-Indiase muziek). Hij is leider van Spinifex, een Amsterdams muziekensemble dat in een kwintet kernbezetting opereert, maar ook vaker projectmatig in grotere bezettingen werkt. Hij leidt een trio genaamd Lackritz met Kristina Fuchs en Raphael Vanoli. Verder vormt hij een duo met Oguz Buyuberber, en speelt hij in trio met Martin Van Duynhoven en Gonçalo Almeida. Klein is niet alleen geïnteresseerd in jazz en hedendaagse muziek, maar ook in muziek uit de Balkan (Turkije) en Azië (het zuiden van India), een interessegebied die tot uiting komt in verschillende groepen en projecten. Zo speelde in de internationale groep Bhedam en leidde hij het trio Man Bites Dog. Ook speelde hij met de psychedelische folk-fusionband Gevende uit Istanboel. In 2012 toerde hij met de Balkan Clarinet Summit. Klein heeft vaak in het buitenland getoerd, onder meer in India en Rusland. Hij speelde mee op platen van Tineke Postma en Esra Dalfidan.

Discografie (selectie)

Spinifex
 "Hipsters Gone Ballistic", TryTone Records, 2013

Full Fathom Five
 Bison Ravi, TryTone Records, 2007

Spinifex Orchestra
 Triodia, Karnatic Lab Records, 2008

Esra Dalfidan's Fidan
 "Counterpoint", Challenge, 2010

 "Colors", Challenge, 2008

Man Bites Dog
 Man Bites Dog, TryTone Records
 Hot Mule Bait, TryTone Records, 2001
 OKNO, TryTone Records

Dalgoo
 New Anatomy, TryTone Records

Bhedam
 Rickshaw Chase, Trytone Records

Externe link
 Website Tobias Klein

Duits componist
Duits jazzcomponist
Duits jazzsaxofonist
Duits jazzklarinettist

redpajama_set_name: RedPajamaWikipedia


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PopEntertainment.com > Feature Interviews - Actors > Feature Interviews A to E > Idris Elba
Brit Actor Wins Global Recognition & Award Noms as Well
by Brad Balfour
Copyright �2013 PopEntertainment.com. All rights reserved. Posted: December 19, 2013.
For London-born actor Idris Elba it must have been a moment of incredibly mixed emotions. On Thursday December 5th, 2013, the London premiere of Mandela: Long Walk To Freedom took place. Elba, who stars in this biopic as the great South Africa leader, was there in the company of Prince Andrew, his wife and many British luminaries � including Mandela�s daughters. Then what had long been feared was announced: that the medically frail 95-year-old freedom fighter had died after a long illness.
As the driving force behind the African National Congress� campaign against the heinous policy of Apartheid, Mandela endured prison, illness, and deprivation. When finally released, Mandela become a revered world leader and a role model despised by the right wing everywhere. Once he became South Africa�s first post-Apartheid president, he brought a redemptive philosophy and market-driven economic ideas to a country devastated by sanctions against its defunct racist government.
Based on the 1994 autobiography of the same name, Mandela: Long Walk To Freedom chronicles Mandela�s life as this international icon and revered global leader.
Perhaps because the film � as written by Oscar-nominated William Nicholson (Shadowlands, Gladiator, Les Miserables) � spans so much of the great leader�s life, it feels a bit too much like a summation rather than an examination. Yet it works because of Elba�s expressive performance.
The movie transitions from Mandela�s childhood as a herder in South Africa�s rural Cape region to his days as the first black lawyer and Apartheid resistance leader. Director Justin Chadwick highlights key moments as he evolves from revolutionary to prisoner (he spent a good part of 27 years on the notorious Robben Island) and eventually became his nation�s first democratically elected Black President.
As the world now mourns Mandela�s passing and celebrates his legacy, Elba, in turn, enjoys praise and recognition achieved through years of hard work. He is known for playing characters of importance with a sense of authenticity and gravitas.
With Elba�s impressive resume � The Wire, Luther, Prometheus, Pacific Rim and Thor: The Dark World, among others � the 42-year-old actor is making his mark in more ways than expected. Finally after more than 20 years of film and television work, he has just been nominated for Golden Globes in both television, for the English legal drama Luther, and film for Mandela: Long Walk To Freedom.
Born of a Ghanaian mother and Sierra Leonean father, Africa courses through Elba�s blood which enhanced his understanding of Mandela�s struggle. Though he started by pursuing a career in music, his success in BBC television series led him to his successful film career.
The following Q&A is compiled from two recent appearances Elba made at the Soho Apple Store in promoting both Mandela: Long Walk To Freedom and Pacific Rim.
What was it like to take on the role of Nelson Mandela?
It was tough, obviously. There were so many personal challenges that I had to get over. I didn�t believe in Idris playing Mandela. I was hooked up on the lookalike version of Mandela and I�m West African, not South African, so there was a whole different cultural thing that I was aware of. So, to be honest, I was like, �I don�t know if I can do it.� I didn�t have the attributes.
When my agent called me about it, I put the phone down because I thought he was joking. Eventually I came around and Justin [Chadwick] came to see me when I was making Pacific Rim in Toronto. We sat down for three nights, hung out and talked about his version of Mandela. The idea was to highlight this younger, charismatic man who was the first black lawyer in Soweto with all the energy he had, which [Justin] wanted to bring across. He wanted to show you what Mandela was like when he was my age, 41, to give some context to where Mandela ends up. I was very much worried about this role.
Playing an individual who was still around [at the time] and putting him on screen � what was that like?
Everything around you was part of the film. 360 degree sets. The cameras essentially could shoot anywhere. It also meant that the extras who were part of those massive crowd scenes when we had to do those speeches. Though half of them were too young to actually remember Mandela in his prime � he�s very much ingrained into their system.
They would not allow Idris Elba (laughs) � the guy from [Tyler Perry�s] Daddy�s Little Girls � to come on stage, do Mandela, and lie to them. That was not allowed. I wasn�t allowed to make mistakes in speeches or forget my lines. It was a challenge just because I knew he was a real man to them. I was really nervous about lying to them, but I never had to because they gave me so much more energy than I could even possibly give them. That encouraged me and Naomie to make those speeches as real as they can get.
What was ultimately the biggest challenge?
I think playing the range realistically from around 20, which was practically impossible, to around 70. Mapping out the whole journey. Things happened to his body, mind, voice, in that whole time. That was the biggest journey, trying to figure it all out in this six-month shoot.
We shot out of sequence. Some days, or some weeks, I�d be the older Mandela and others, I�d be the younger Mandela. Pulling it all in and making sense of it was the biggest challenge for me.
Was there any point during filming that changed you in any way?
The film definitely changed me. Understanding who that man is deepened my own perspective of myself and the world. It�s hard for me to talk about it in a tribute sense in a situation like this because there�s so much to talk about. Hopefully that film impacts and educates the audience, but for me, it was a life changing film to make.
You mention the voice, capturing that memorable Mandela cadence...
It was a lot of studying. I�m a natural mimic. If I hang around someone for long enough, I start to understand what they�re doing with their voice and their cadence and speech. Ironically enough though, my dad�s voice is not too dissimilar. He�s from West Africa, which is a slightly different accent, Sierra Leone. People who come from Africa and speak English have such an interesting cadence � it�s broken up � so almost everything you say sounds noble. It�s amazing.
With Mandela, it was something that I was in tune to with my ears and I could sort of understand a little bit. When Mandela was younger, he had a very high-pitched voice, stuttered, and spoke very quickly. As he got older, he slowed it all down and realized the power of poise and silence and really settled into his chest with this really nasally sound. I just paid attention to all of that and tried to emulate it.
You�re also a musician.
I love African music. I�m West African. I love hearing contemporary new African music. When I was doing this fashion show, I picked some tunes from [Malian musicians] Amadou and Mariam.
And you�ve deejayed as well.
Actually, I play a lot of house music and this summer, I�m going to be in Ibiza, Spain, for the whole summer doing a residency. If you come out on a Friday or a Saturday, I�ll give you the works. (laughs)
When you signed on to do Pacific Rim, Guillermo del Toro�s project, did he assign you homework to get into what the film�s going to be?
It�s more than just reading material. He took the actors, one-by-one, and we�d have these massive sessions with him talking about the history of where [the story] came from in his head. He took us through the history of the characters, the history of the robots. My character is dipped in Japanese culture so I had to learn a lot about that.
Originally in the script, the character was named Sensei, believe it or not. In the redraft, he was called Stacker Pentecost. I had to learn a little bit about Japanese culture in the way my character moved. When he was called Sensei, he moved in a kind of zen-like way but as he changed in the script, he became that guy.
Guillermo was very hands-on with actors, he�s got shitloads of information to tell you and he�ll tell you every little beat. When we�re shooting, Guillermo is very pedantic and detailed. If he puts it there and you move it here, he�ll be like, �Cut!� He�s that detailed.
Well your character in the film is also very controlling.
Yeah, I do whatever the fuck I like. In terms of that character, Guillermo gives you a lot of license but he�s also the boss. He knows exactly what he wants.
Pacific Rim has a very international cast � Guillermo is Mexican, Charlie Hunnan, an Australian, and you being British, what is it like working with such an international group?
That was part of the DNA of what Guillermo wanted to do. He wanted an international cast because the problems of the Kaiju is an international problem. So he wanted it to feel like [that] if the world had to come together, this is what it would look like. It wouldn�t be American or English, it would just be one army. I think that was imprinted in the DNA of the whole script and showed up in the end.
Describe the choreography of doing scenes where you are piloting a giant robot and fighting aliens from the sea.
Guillermo likes actuality so [though] there�s a lot of green screen, the actual mechanism like the robot�s head where the soldiers would be inside, was actually built on a soundstage. It was this huge replica of a robot�s head that sat on a gimbal and the gimbal would move according to how it would move if we were actually in the thing.
Then, they put us in this suit, which took about 45 minutes to put on, and then they put us in a harness and myself and the other actor would be in this treadmill situation and we had to move in tandem. That was the hardest shit to ever do. You got this thing moving, you got frames all around, wind coming at you, you felt like you were really in that thing.
It helped us as actors because we didn�t have to imagine how uncomfortable that would feel. We had it for real. It was a really good experience in that sense. In science fiction, a lot of films are made with CG but this film, a lot of the real stuff, you can tell the difference. There�s a lot of real sets and real shit going on.
Did you rehearse much or just suit up, get in the gimbal and we�re rolling?
We rehearsed it a lot. We rehearsed some of the set sequences because the robots fight in a certain pattern, whether it�s punching or kicking, and the actor in the suit has to do that at the same time when we put it together so we had to rehearse that a lot. It was really difficult.
What did you think when you found out that your character was re-named Stacker Pentecost?
First thing is that he�s religious and I�m thinking he�s some sort of a preacher or a guru. But the name was definitely the best character name I think I�ve ever had. Stinger Bell was a good name but Stacker Pentecost that�s the shit.
In the film you do a Henry V-like monologue � there�s a line where you say, �Today, we�re canceling the apocalypse.� You don�t get lines like that too often.
When I read the line, I have to admit that it sounds better than it actually reads. When I read it, I was like, �What? Canceling the apocalypse? Who speaks like that?�
When you�ve got 600 extras, this body suit and armor, these big robots next to you with that haircut, you feel the words. The words suddenly came to me. Canceling the apocalypse, I felt it. When I read it, I was like, �I don�t know if I can say that.�
Did you love sci-fi growing up? There�s a lot of anime work [referenced] here where you don�t necessarily need to be familiar with it but if you are, you get something extra out of the film.
I was into Star Wars: The Empire Strikes Back, growing up. That was me and sci-fi. When I got [to do] this film, it was definitely an education for me. Graphic novels, the history; I remember Godzilla but that was about it for me. It was a process of learning how deep this world is with Guillermo.
Then, there�s Thor: The Dark World. You reprise playing Heimdall, the guardian of the Rainbow Bridge which was severed in the first one, you were out of a job but Heimdall is back.
Yeah, Heimdall is back and a version of the Bifrost is back.
Did you get to keep his helmet?
No, man. When I woke up in the morning, my neck was always crooked. I needed a massage. That helmet looks fantastic but is very difficult to wear.
Even now, The Wire is still as important as it was when it came out and has become a touchstone for intellectual discussion on the medium [television]. Did you realize how good this series would be?
In short, I didn�t. The way The Wire was pitched in the beginning was that it was a procedural cop show. When I read it, I realized there was much more to it but I didn�t realize how important it was to modern day television.
I didn�t realize it would end up being a reference point for the rest of my life but I knew that the writing was good. I knew we were going to see a part of the world that doesn�t get any shine and I knew the actors we put together were real and authentic and not just star driven.
The producers had a very definite vision for it. It took me a year because it was even after the first season that I realized that this show has got legs to a wider audience than I had first thought about.
Was there an episode where you saw that it was more than what you originally thought was happening?
When I was shooting, none of that realization came to me. It was literally two years afterwards when people are screaming, �Where�s Wallace?� I realized that it was really penetrating an audience.
How many times a month do you hear �Where�s Wallace?�
About four years ago, I would probably hear that about 58 times a month and now it�s about six or seven times. These are rough figures.
And then there�s Luther. Can you talk about season three?
Well Luther is back for season three. We open in London in July and then it�s September in America. I�m really excited about this season. The show has evolved. With first season, we didn�t know where we were, who Luther was. The second one, we started to understand that and in the third one now, we understand it a little bit more.
I�m really proud of it and, yes, Alice is back causing all kinds of trouble. Luther is evolving. It�s a different kind of Luther. In the second season, Luther was contemplating suicide every day and in this season, he�s moving on from that. I�m excited.
When you worked on the creepy Obsessed, did you look at Fatal Attraction as a reference in terms of how you maneuver the characters?
I don�t think I did it consciously. In the back of our minds, we understand that Fatal Attraction is the archetype film in that category but didn�t reference it deliberately, even if it certainly was in the back of our minds as a benchmark of a great film that has been done. So, no is the short answer.
Is there any credence to talks about you playing James Bond?
The James Bond thing is a massive rumor that�s taken legs. I�m definitely glad to be an actor that people would like to see in that role but it isn�t going to happen at this point. If it did happen, that would be great.
When you develop accents for a role, do you have to think about it?
People say that my American accent is so good but the truth is I that lived in America for four years before I ever got a role playing an American. And when I got here my accent was awful. I couldn�t get a job for shit. I went up for Boris Kodjoe�s role in that film Brown Sugar but my accent was awful.
Now, when I speak to English actors that want to do American, I ask if they�ve ever spent time in America or if they know any Americans or know any history about America. If they don�t, that is where you fail immediately.
If you understand a culture, you understand the way they speak, how they communicate, and then you understand how to manipulate your mouth to talk like them. I always thought it was just something easy to learn phonetics by listening or learning from a voice coach, but for me, it was more about understanding the culture to be able to speak that way.
When I�m doing a film, for example, Nelson Mandela, that role and accent is so well known but I had to understand who his people were, who his family was, the tribe that he comes from. If I can understand that then I can understand the way he speaks. There�s a lot of work that goes into accents. I�m doing a film in England where I�ll be playing someone with a real street Eastern accent. That�s not my real accent so I have to put some thought to that to make that sound convincing.
Were you excited when Guillermo said it�s fine if you sounded British?
As soon as you tell someone you have an accent, they say, �Oh yeah. I hear it now.� Now, my work is doubled. I have to work extra hard to make it sound convincing.
What�s the difference between doing American or British films?
European dramas tends to be a lot darker than American ones. Crime thrillers and English drama has a history with whodunits and over the years, they�ve gotten darker and stranger. In America, it�s starting to head that way.
Drama producers are given license to be a lot darker in Europe; they are more open minded to that darkness in drama, but America is still more set in its own [style] but it�s changing. Cable TV is definitely changing that. AMC [and] Showtime make more provocative, darker and less safe drama. It�s about what audiences can take. English audiences can take a little bit more at this stage.
How old were you when you started making movies?
I started making films when was about 21 years old but when I was about 12 years old I decided I wanted to be an actor.
In one of your best films, Sometimes in April, your performance about the Rwandan genocide is so raw and graphic. How did that affect you and make you a better actor?
I�ve said it to the press at the time, that film was one of the first I did after The Wire, and it absolutely changed my goals as an actor. I wanted to be a star but after I did that film, it was more important to play characters that moved me.
Rwanda was quite reluctant to see that film get made and shot there because that tragedy was only 10 years old. When we went there as actors, we felt a little disrespectful because there were people still dealing with the trauma to their families and their cities. It moved beyond just an acting job, learning an accent and learning a language, it almost became my duty to do it right.
The film takes a journalistic approach and is very hard to watch. It�s not like Hotel Rwanda, which is a good film, but a little more of a movie. It did change my roles in that I realized that I was fortunate to have been involved in shows like The Wirethat keeps pushing the characters to say something and go through something.
How often are you offered roles with complex characters that challenge you as an actor?
Actually, I don�t get offered those roles a lot. But one day, this gentleman wrote to me and he [had] wrote this script called Legacy; he was a first time director, and sent the script. I loved it, we raised the money and made the film. That was the last time something like that happened. I�m an actor, I like to be challenged. There are great opportunities for me but not all of them are challenging.
What are your favorite characters to play?
Honestly, characters that take me away from myself as much as possible. I don�t want to recognize myself in it at all. I don�t have a favorite type but I think the more challenging, the more crazy the characters are, the better it is for me to play.
Is there anyone you really want to work with on a movie that you haven�t yet?
There are a million good actors and filmmakers I really want to work with but I haven�t been able to. I�m not just saying it because I�m in New York but Spike Lee is one. We�ve threatened to work together a number of times and I�m hoping that it�ll happen.
The good thing about stepping up the ladder as an actor is that [opening] those doors become easier. You tell a director that you really like their work and sometimes some synergy form there. I�m excited about that climb because I really get to choose the roles and choose the people I work with.
CLICK HERE TO SEE WHAT IDRIS ELBA HAD TO SAY TO US IN 2011!
Email us Let us know what you think.
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#1 � 2013 Roger Wong. All rights reserved.
#2 � 2013. Courtesy of The Weinstein Company. All rights reserved.
#7 � 2013. Courtesy of Warner Bros. All rights reserved.
#10 � 2013. Courtesy of Warner Bros. All rights reserved.


text:
EmailTray is a lightweight email client for the Microsoft Windows operating system. EmailTray was developed by Internet Promotion Agency S.A., a software development d.

EmailTray 2.0 was publicly released on October 7, 2010, as a free desktop email client. It supports multiple accounts using the standard POP3/SMTP or IMAP protocols, with or without SSL.

EmailTray combines features of a simple email client and an email notifier that alerts users to the new email messages that EmailTray considers important.

History
EmailTray originated as SenderOK, an email productivity plug-in for Microsoft Outlook. The main features of SenderOK were email sorting and desktop notification about new prioritized email messages.

Apart from email sorting, the SenderOK plug-in also offered a social feature: the photo business cards of email senders were displayed along with their email messages. The business card information was retrieved from a proprietary social network hosted at SenderOK.com. In case an email sender had no SenderOK profile filled in, the SenderOK plug-in used information from the LinkedIn and Facebook social networks.

In October 2010, SenderOK was released as a standalone email client and was rebranded as EmailTray.

Basic features
EmailTray is an email program that runs in the taskbar area of a Windows PC. The program  goes active when a user gets new email messages that EmailTray considers important. At any time the program can be opened and used as a fully functional email client.

Protocols and Webmail services supported by EmailTray are: POP3, IMAP and SMTP, Yahoo! Mail, Gmail, Windows Live Hotmail and AOL Mail accounts. All passwords from user's email accounts are stored locally.

EmailTray lets users read and compose new messages in plain text or HTML, view attachments and attach files to messages. Users can also forward email messages, reply to emails and create an unlimited number of custom signatures that can be used in new messages and email replies.

EmailTray users can create custom rules based on the sender name and sender email address data, email subject contents and recipient data. An EmailTray user can set a sender's priority to Top Priority or Low Priority, assign colors to all messages that conform to a rule, or perform other actions like archiving or moving messages to the Spam folder.

To help users manage their emails, EmailTray provides the option to sort emails by date and email account, filter messages by sender and perform instant search through the emails of all tracked accounts.

Advanced features
Being a simple email client, EmailTray does not offer an electronic calendar, address book, or feed reader options. EmailTray differs from other email clients mainly because of its email management features such as email sorting by priority, as well as alerts about new priority messages. The program offers password protection of the user's mail data.

Email sorting and prioritizing
EmailTray analyzes a user's email habits such as reading, replying, deleting or forwarding – to spot active conversations and give them the highest priority in the Inbox. Messages are then tagged as Top Priority, Low Priority, No Priority and Spam. This feature is similar to the Priority Inbox feature introduced in Gmail on August 30, 2010.

Priority mail notifications
EmailTray notifies its users with a popup alert and sound about new important mail that has arrived to the Top Priority folder. A user can manually change notification settings, e.g. set EmailTray to also notify about messages considered Low Priority, or change the reminder time interval, or use custom sounds for sound alerts.

Mail data password protection
Once a user installs EmailTray and creates a user account, he/she can protect their EmailTray software copy with a password. At adjustable time intervals, an opened EmailTray client can request a password for emails to be visible.

System requirements

Operating System: Windows XP/Vista/7
Hardware: 1,2 GHz 32-bit (x86) or 64-bit (x64) processor; 512 MB RAM or greater; 100 MB hard drive space.
Supported browsers: IE 7.x and higher, Mozilla Firefox 3.x, Google Chrome 6.x, Flock 2.x
Supported Webmail services and protocols: Yahoo! Mail, Gmail, Windows Live Hotmail, AOL Mail, POP3 and IMAP.

See also

Comparison of email clients

References

External links

Email clients


This week I decided to do something different. Since the weekend kicked off Beyoncé has been the topic of every media outlet discussion. She has been trending on social media ad every one seems to have an opinion about the King Bey.
Well after taking a hot bath and thinking about what happened this weekend with King Bey, Beyoncé and how she dropped her new song, video, performed at the Super Bowl and announced a new tour there are four things that stood out to me on what I learned from Beyoncé.
Listen to The G Code Podcast as I give you four things I learned from Beyoncé.
Missed the Super Bowl? Here is the Beyonce show….


text:
RandomMaccess
Tech journalism is not an oxymoron
BTNS Mac Show
MacJury
The Mac Observer
Cirque du Soleil's 'Viva Elvis' is a hunka hunka burnin' fun
April 7, 2011 / Staff
The biggest problem with doing a show based on Elvis Presley's life is that he became larger than life (and no, that's not a "Fat Elvis" joke). The King of Rock and Roll became a legend that nothing (eventually not even he) could live up to, then sadly — a parody, a stereotype.
How then to get around that problem to produce something that's not a parody? Something that honors the King's life and legacy without turning into a caricature? For the folks at Cirque du Soleil's "Viva Elvis," the answer was simple. And brilliant.
Don't try.
No, you'll see no "Elvis Impersonators" during the performance (the big closing number notwithstanding, sort of). For the most part, "Viva Elvis" lets the King speak (well, sing) for himself, in audio and video clips that are often pulled out of their original context and turned into duets with live performers. When Elvis doesn't sing, the songs are inspired and innovative re-imaginings of classics sung by female singers without a hint of a lip curl or trademark slur. Even when Elvis does "appear" on stage, it's in an almost generic sense—as if the character was meant merely as a placeholder: A young GI in uniform; two young men in t-shirts and jeans representing Elvis and his twin brother Jesse, who died at birth (in a number that serves as a sweet and touching nod to the feelings of loss and guilt Elvis carried with him throughout his life.)
[ad#In-article banner]
"Viva Elvis" is an unconventional Cirque show, which oddly makes it seem more of a traditional Vegas show. The set is classic: a large stage in the front of the theater, complete with big red velvet curtains. The acrobatics are there, but take a back seat to more conventional choreography. The music is there too, but so is a narrative, delivered by the character of Elvis' longtime manager, Colonel Tom Parker.
Given all this, it seems no wonder that "Viva Elvis" seems to have sparked more controversy that most Cirque shows in recent memory, almost polarizing its fans—and Elvis', for that matter. Bizarrely, though, the camps don't seem to align in any consistent way—fans of all sorts fall in the both the "loved it" and "hated it" camps.
The show takes the form of a loose recap of the King's life: his early years, his induction in the Army, his return and emergence as a Hollywood star and finally his establishment as the ultimate Vegas entertainer. Happily (for this is not a documentary), the show skips Elvis' tragic downfall into excess in favor of ending on a high note with a lavish, classic Vegas showstopper, replete with showgirls with big headdresses and and chorus of jumpsuitted Elvii.
In between, we are treated to some phenomenal numbers and energetic acrobatic sequences, including the most "Cirque-like" performance of the show, a superhero-themed, gravity-defying trampoline scene, ostensibly based on Elvis' love of comic books. Other highlights included a remarkable version of "All Shook Up" done as a gospel song; a delightfully rendition of "Return to Sender" that would be enough reason on its own to buy the show's soundtrack (sadly, it's not included on it); a whimsical and incredible demonstration of old-fashioned rodeo roping (believe it or not); and an updated and expanded recreation of Elvis' famous Jailhouse Rock scene from the eponymous film.
It's a testament to the enduring appeal of Elvis that in many of the sequences featuring him singing on a large video screen behind the set, I kept finding my eyes drawn to him even over the dancing and acrobatics taking place on stage. Such is till the power of the King.
"Viva Elvis" is a playful, joyful tribute to the King that deftly uses new arrangements to avoid clichés, and in turn embraces enough of the "kitch" of the times to make it a wildly entertaining delight, and as Elvis himself would surely appreciate, a veritable spectacle.
In short: It's a hunka hunka burnin' fun.
More information and tickets for "Viva Elvis" are available from the show's page on the Aria hotel's website.
Categories: Analysis, Miscellaneous, Review
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© 2022 RandomMaccess


text:
Bid request signal experiments
==============================

[Real-time bidding](https://en.wikipedia.org/wiki/Real-time_bidding) is a
technology that allows advertisers to buy and content creators to sell ad
inventory on a per-impression basis via instantaneous auctions, with multiple
buying platforms competing. RTB helps advertisers and publishers to optimally
allocate advertising inventory and assign a fair value to each impression.

In order to further improve user privacy protections, the Google RTB team is
starting to consider how
[Chrome Privacy Sandbox](https://www.chromium.org/Home/chromium-privacy/privacy-sandbox)
ideas can be applied to RTB. We'd like to explore possible iterations of the privacy
sandbox proposals and experiment with changes to the RTB interface between
advertising exchanges and bidders. The experiments we run would enable publishers
to choose stronger user privacy protections, while keeping RTB an effective channel
to reach audiences and to monetize publisher inventory.

For example, real-time bidding could support targeting advertiser audiences via
segments that refer to groups of many users sharing common interests or
characteristics rather than a pseudonymous identifier referring to one user.
Such aggregated audience segments could be provided by different sources,
including an advertising exchange, a publisher, an advertiser, or a browser
(see [Federated Learning of Cohorts](https://github.com/jkarlin/floc)).
Exchanges could offer a uniform RTB interface for aggregated audience targeting
to bidders regardless of the data source.

For remarketing – advertising based on past visits to advertiser web sites –
exchanges could experiment with concepts described in the
[TURTLEDOVE](https://github.com/michaelkleber/turtledove) proposal. Exchanges
can explore the separation between contextual and user interest components in
the RTB data flow, along with hosting the ad selection logic that needs access
to both components (for instance, brand safety checks for a product remarketing
ad) in a sandbox. In addition, exchanges could design a consistent RTB
interface for remarketing with improved privacy protections working across
diverse environments, including browsers that support
[on-device ad selection](https://github.com/michaelkleber/turtledove)
and platforms that use pseudonymous resettable identifiers for advertising.

Advertising exchanges can also apply the idea of a
[Privacy Budget](https://github.com/bslassey/privacy-budget) to improve the RTB
interface privacy protections and reduce or obviate the reliance on such
high-entropy fields as IP address and user agent (some exchanges may already be
limiting the entropy, for example, by truncating the IP address in the bid
request). With constraints imposed by the privacy budget, a given bid request
would not provide information about a device that may allow one to indirectly
identify a specific user or a very small group of users, and instead offer
fields that enable targeting by sufficiently coarse-grained geolocation or
device and browser type.

For use cases such as non-human traffic and abuse detection, where access to
the signals from the device continues to be vital to prevent fraudulent
activity, the RTB ecosystem would benefit from being able to ensure buyer's
confidence in the inventory sold programmatically while minimizing the
sharing of the information about the user. We propose to experiment with
approaches such as the
[Trust Token API](https://github.com/WICG/trust-token-api), which allow trust
token issuers – i.e. sites with user interactions that can indicate high
likelihood of real and valid users – to share that knowledge with other parties
without increasing the ability to track users across sites.

We plan to evaluate the viability of these and other proposals via small-scale
real-world experiments conducted by exchanges and bidders. We welcome
advertising industry partners to provide
[input](https://github.com/google/rtb-experimental/issues) to these RTB
experiments that minimize user data sharing and better protect user privacy.

## Proposals

These conceptual discussions around additional ideas, modifications, and extensions to the privacy sandbox include:

* [Dovekey](proposals/dovekey)
* [Augury API](proposals/augury)
* [SCAUP](proposals/scaup)
* [Browser Enforced Frequency Capping](proposals/browser-frequency-capping)
* [ASTRAPIA](proposals/astrapia)
* [FLEDGE for real-time bidding](proposals/fledge-rtb)

## Experiments

These are experiment proposals we are evaluating to test approaches to strengthen user privacy protections in RTB:

* [TURTLEDOVE simulation](experiments/turtledove-simulation)
* [Evaluate the impact of the TURTLEDOVE micro-targeting protections](experiments/microtargeting-protections)
* [Frequency Capping](experiments/frequency-capping)
* [Structured User Agent](experiments/structured-ua)
* [Structured Geolocation](experiments/structured-geo)
* [Exchange-assisted invalid traffic filtering](experiments/exchange-assisted-ivt)

## Server trust models

Possible approaches to defining and implementing trust models for remote
servers.

* [Server trust model techniques](trust-model/trust_techniques.md)
* [Trusted Execution Environments and Sandboxes](trust-model/tee)

redpajama_set_name: RedPajamaGithub


3/08/2016 · Audacity is the desktop app. The beat is called, "ice flow" by Kevin MacLeod In this video, i will be detailing how to record a track in Soundcloud on Android, but you cannot do this on IOS for... Image via developers.soundcloud.com. A version of this article originally appeared on the Green Light Go blog. SoundCloud has increasingly become one of the most important tools in an artist's toolbox.
Upload your track to RouteNote selecting SoundCloud as a store (you can also upload your music for free to Spotify, iTunes, Tidal, Deezer, Apple Music and more for free here). Once your track has been uploaded and approved (you will receive an email to notify you of this) you need to add the song's private link from SoundCloud into the SoundCloud section of your RouteNote account.... Soundcloud has upped the ante and solidified it's presence within the music streaming spectrum by now paying royalties to artists, a long overdue feature that artist have been waiting for.
10/11/2013 · Get started with audio-streaming service SoundCloud with our beginner's guide. Online streaming services aren't new. There are innumerable ways to stream audio and music online, but SoundCloud has how to get your old base in clash of clans Upload your track to RouteNote selecting SoundCloud as a store (you can also upload your music for free to Spotify, iTunes, Tidal, Deezer, Apple Music and more for free here). Once your track has been uploaded and approved (you will receive an email to notify you of this) you need to add the song's private link from SoundCloud into the SoundCloud section of your RouteNote account.
I'm having problems uploading my song(s) to Radio Airplay. Can I edit/remove songs? I'm having problems uploading my photo(s) to Radio Airplay? How do I transfer music from Soundcloud?
Soundcloud has upped the ante and solidified it's presence within the music streaming spectrum by now paying royalties to artists, a long overdue feature that artist have been waiting for.


text:
27 February 2016 / Computers and stuff
How to... shoot your burning platform in leg
Let's go back to 2012, when the Windows Phone 8 was the hot new thing. Well, early 2013. When most of the phones on the market were actually WP7 phones with no upgrade option. At all. But hey, it looked so nice. So different. And you remember, Android was quite bad back then. Unless you wanted to buy an expensive high-end phone. Maybe? Well, then there was this option of a reasonably priced, very nice (ex-Nokia design, still some N9 heritage, colorful plastic, you know what I mean) Windows Phone. It was new and exciting. It even had a desktop operating system to go with it. Full of new courageous stuff. Microsoft was suddenly quite cool and hip.
So I got one of those and I was happy with it. I didn't even feel that terrible need for more apps, because there were apps. Not too many, probably, but all I wanted was there. Decent web browser (called Internet Explorer, yeah, that was sooo weird back then), this OneDrive synchronization, good basics. You could read both Twitter and Facebook feeds through an aggregation in the 'People' app. You could even, for some time, do the Facebook messaging thing in the regular Messages app, same one as your SMS. Not that it worked great, but...
...they promised it would, eventually, some day. But it took so long to do a single feature update in form of the WP 8.1. By then, Android moved on, of course.
And Microsoft did as well. They killed the WP 8. By announcing a new version, this Windows 10 wonder. Which isn't here yet, just an endless 'preview version' stream. And it's already so beaten and pointless. There aren't many new features, it doesn't even have some the older version had. All the apps are new, buggy and more boring.
Of course. There is this promise, promise yet again. Write your 'universal' app once and run it both on the phone and desktop. W10 magic. Isn't it great? Alright. No. All the other platforms have it already. If you want to run your iOS app on the OS X, you have to do some development work, but it's not a major deal. You can, if you really want. Nobody really wants. Android now has a runtime with every Chrome browser, installed almost everywhere. Still, little actual demand here. So they broke everything to ship a pointless feature? Probably, kind of. Looks like they did.
What else is there? Lot of brokenness. Like, a lot. All the apps are buggy. And the 3rd party ones didn't see a single update and start to fall apart with all the differences from the WP 8. And of course, why would anyone bother with something, that is going away? They don't.
So I got an Android phone. Again. I just don't care anymore. And hey, this phone is actually good. Things work. I can open the store (well, Play) and there is stuff and I can install it. As opposed to watching the splash screen and having the store crash. Again and again. Which is how it works on Windows. Spotify doesn't miss features and is fast. I can just tap a button and it plays. That's a big deal, compared to the WP. Yes, it is.
And so on. There is still a case for the Windows Phone and I don't think it's going to die. There are still nice and cheap phones sold and I see a lot of them in a tram or bus. But this 'third operating system'? Nope. It's more like a firmware for the feature phone. People will get it if they like the brand (lot of ex-Nokia appeal still) or the model itself, but won't care about getting Windows. Why would they.
— the hidden bahnhof —
Game tip, Offworld Trading Company
Running Ghost as a Docker container
finally an update
Now, this was one of the worse decisions I made, but this blog is running on Ghost, so it needs to be updated regularly and stuff. Since everything is on Centos 7 that
So after a year, I finally managed to upgrade this Ghost installation to a new version. It shouldn't have been this hard (or take this long), but there are, as always, some specifics,
the hidden bahnhof


text:
KRYPTOS – The Coils of Apollyon
Posted on July 30, 2013 by Justin Croteau
One part Death metal, one part Thrash metal, and 100% heavy Kryptos are helping keep traditional Death metal music alive in a sea of modern flavors with their release The Coils of Apollyon. Reminiscent of early Death metal groups like Death and Possessed, Kryptos have muscled their way into the ranks of classic Death metal with nothing but their pure energetic sound.
This album starts out hard and never lets up. There is some moments where the group incorporates some more symphonic and even orchestral elements, but it doesn't slow down the unstoppable ferocity of this album one bit. All it does is bolster the dark and eerie energy that surrounds the piece, first established by simply looking at the cover. With establishing an eerie and dark energy any group then has to back that energy with a similar sound and the group doesn't disappoint. With elements of both Thrash and Death metal the sound doesn't stop there, and goes on to incorporate both Black metal and Groove metal sound into the mix.
If there is one critique to give this album it's repetition. Though there are elements that break it up at points, for the most part these songs are long and repetitive. Unless you are just a junkie of this kind of music, after about track four, "Nexus Legion", it's a challenge to keep listening purely because it all sounds so similar. This isn't to say the music is bad, on the contrary for the genre the band is aiming for this album is spectacular, just the tracks are a little too similar for those with short attention spans.
With devastating vocals, blistering riffs, and musical precision Kryptos have brought a fine example of classic and traditional Death/Thrash mixed metal to the field. This album is recommended for any fans of Death, Possessed, and early Slayer.
Click here to purchase The Coils of Apollyon.
https://www.facebook.com/KryptosIndia
BONDED BY BLOOD – It Pounds In Your Head
Testament – Dark Roots of Earth
YOUR CHANCE TO DIE – The American Dream
LOST SOCIETY – Fast Loud Death