It's not so much the sightings of the 3 birds and the hearts as it is the timing of them. They pop up during a moment of prayer, in times of thanks giving and in bouts of sadness.
A few weeks ago I passed a rack of baby Halloween costumes in the grocery store. Old patterns and ways began wondering what we should dress Nora up as this year. The thought wasn't out of the gate for but a millisecond before the hinged steel jaws of reality snapped shut, grievously lacerating it. My eyes welled up with tears. "You'd think I'd stop this by now…" I muttered to myself, glancing "randomly" at freshly patched drywall in the front of the store. Two unmistakeable hearts and a barely discernible "Thank You …." that was once lettered above the windows. No. Thank YOU, sweet baby. Thank you for flooding my heart with such love. Thank you for teaching me and showing me how to trust and rely on God, even when it seems impossible. Thank you for pointing out how frail and precious our time on this earth is. Thank you for helping me to understand that while none of us are guaranteed a tomorrow, we are guaranteed new Life. I could not have dreamt up a sweeter little messenger of God's goodness and love than you. You were [and are] so much more than a scary diagnosis, Nora. I just had no idea. Thank you, God for entrusting us with such a sweet creation, such a precious gift.
No, I didn't get to dress Nora up for Halloween this year, but she must certainly be dressed up as one of the sweetest little angels there ever was, REAL halo and all!
Greta made this "Nornor pumpkin" that glowed from our front porch last night, in true Nornor style. Her little light still shines on!
Greta recycled her Shirley Temple costume from last year's wax museum project, and Gavin wore his Jigsaw costume from Halloween last year.
They ran around the neighborhood in the 40° for an hour and a half and came home with a combined 93 lbs. of candy (I think) and a sore throat (Gavin). Grrrr.
I'm loving the Facebook newsfeed. I saw a baby centaur, and a baby Golden Girl. So funny!!!!!!
This is so beautiful, Aleisa. It gives me chills how perfect the timing of these "winks" are. God knows what we need exactly when we need it and he's always faithful. Thank you for continuing to share your story.
Thank you for sharing your story and may God bless you and your family.
Your beautiful posts always touch such a deep place in my heart and helps me renew my faith. Thank you. Little Nornor is helping so many of us.
Oh-my-word….I have never seen a more precious pumpkin. What a great depiction of that sweet baby face Nora. Thank you so much for sharing your heart, Nora, and the rest of your sweet, sweet family. God Bless You.
Dear Aleisa, this is Alessia, your drawsome "friend" :). I read your blog last night, with my husband, I found myself crying. Selfishly, I know we have been so lucky with our girl, who was born 6weeks premature. She is fine and sweet, but I remember the deep fear when she was at the NICU. I was 40 when I was pregnant, and I had to o through all the genetic tests because of advanced maternal age. I asked myself many times what I would have done if I had had a "bad" news. I think you and your husband have been so brave and I admire you for that. My thoughts are with you and your family.
Dear Aleisa, this is Alessia, your drawsome "friend". I read your blog last night and I found myself crying over your sweet words. Selfishly, I thought I like my husband and I are now that our baby girl is healthy and safe, although she was born 6 weeks premature, and during the time we spent at the NICU I was full of fears. I was 40 when I got pregnant, and I had to go through all the genetic test procedures because of advanced maternal age. I had asked myself many times: what would I do if? I never found an answer. Reading your story, I admire you a lot and I think you and your husband proved yourself to be very brave. My thoughts are with you and your family.


text:
Q: For and Foreach loop and return with Set. First recurring number in array My question is about return result from these loops. Here is my code.
Function should accept array as an input and return first recurring number in it. I decided to use Set object here.
const arr1 = [2, 2, 3, 2, 5, 6, 6, 9];

  const recurring = (arr) => {

    const set = new Set();

    // This returns undefined
    arr.forEach(el => {
      if (set.has(el)) {
        return el;
      } else {
        set.add(el);
      }
    })

    // This returns 2
    for (let el in arr) {
     if (set.has(arr[el])) {
       return arr[el];
     } else {
       set.add(arr[el]);
     }
    }

  }

    recurring(arr1); // Should return 2

In a first case with forEach loop everything works just fine, I can console.log both Set and el and I can see it, but it returns undefined for some reason.
In a second case with for in loop everything also works but it actually returns the value.
Is there big of a difference between these loops in case of return keyword?
What am I missing?

A: In the case of using forEach, you are passing in an anonymous function.  Within that scope, the return will exit that forEach function and your wrapper function recurring will continue to execute the below code.
In the second example, you are not creating another function so the return applies to the recurring function.

A: You need to return something in the function and you need to take find instead of forEach, because the last one does not respect any return value.

const arr1 = [2, 2, 3, 2, 5, 6, 6, 9];

const recurring = (arr) => {
    const set = new Set();
    return arr.find(el => {
        if (set.has(el)) return true;
        set.add(el);
    });
};

console.log(recurring(arr1));

A: In fact the problem with .forEach() method is that its callback function always return undefined, even if you use a return statement.
If you check the forEach() method MDN reference you can see that:

forEach() executes the callback function once for each array element; unlike map() or reduce() it always returns the value undefined and is not chainable.

So in your case return el; inside forEach() callback is always ignored, and inside the forEach callback return is specific to this scope that's why the function won't return anything.
Solution:
If you want to do it with forEach(), what you can do is to store this flag in  a variable so you can return it after the forEach() block:
const recurring = (arr) => {

  const set = new Set();
  let result;
  arr.forEach(el => {
    if (set.has(el)) {
       result = !result ? el : result;
      return;
    } else {
      set.add(el);
    }
  });
  return result;
}

Demo:

const arr1 = [2, 2, 3, 2, 5, 6, 6, 9];

const recurring = (arr) => {

  const set = new Set();
  let result;

  arr.forEach(el => {
    if (set.has(el)) {
      result = !result ? el : result;
      return;
    } else {
      set.add(el);
    }
  });
  return result;
}

console.log(recurring(arr1));

A: Another approach, keep things simple :
const recurring = (arr) => {
    for(let r = 0; r < arr.length; r++){
        if(arr.indexOf(arr[r],r+1)>-1)return arr[r];
    }
}

redpajama_set_name: RedPajamaStackExchange


text:
4, Dec 2013 - 09:00
Balla Secondary School stage 'MATILDA - with a Twist'.
Members of the Matilda Cast.
SHOWTIME is just around the corner for the students of Balla Secondary school as they prepare to stage their production of 'Matilda' but, with their own unique twist!
Balla Secondary School Hall is the venue for the show this Thursday the 5th and Friday 6th of December 2013 -with the show getting underway at 8pm sharp each night.
The story, written and arranged by Ms Rebecca Cresham and Ms Sarah Heneghan is loosely based on the much loved family movie/book by Roald Dahl and follows the story of 'Matilda'- a young girl with a love for reading, a dysfunctional family and a horrifying headmistress.
All of the work is being done in-house with Ms Louise Conroy and the art department alongside the very talented woodwork department and students in the school. Ms Sarah Heneghan is in charge of Drama and Direction, Ms Rebecca Cresham is the Musical Director, Ms Una Griffin is choreographer and heading up the costume department is Ms Marina Moyles. Many other members of staff and the student body are also putting in much effort to ensure that 'Matilda' runs smoothly and successfully.
'The experience of stepping out on stage is a valuable and one that breeds self-confidence and esteem, and we have always prided ourselves in this school on encouraging students to partake in the annual show. We are truly looking forward to bringing 'Matilda' to life within the next two weeks' principal Mary Reaney Explained.
Following the success of last year's 'Musical Extravaganza', this Balla Secondary School musical production is a guaranteed hit...a night to remember and one not to be missed! This colourful musical will have you laughing in your seats and dancing in the aisles as you follow the adventures of Crunchem Hall Primary School and their quest to overthrow Miss Trunchbull. It is sure to delight and amuse audiences of any age! Tickets are €10 and will be available from the school on the night.

redpajama_set_name: RedPajamaCommonCrawl


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Malcolm Knowles' views on adult learners (andragogy) are especially true for facilitators adapting to virtual training….
When English is your native tongue, it's all too easy to imagine that everybody else speaks it. Anglophones are famously lazy at learning other languages. And because they haven't generally had to learn another language from scratch to a level of fluency sufficient for doing business, they can lack empathy with a colleague who is speaking English as a second language.
When in Rome…should you ever dress as the Romans do?
We are pleased to announce we have just added an in-depth guide to the Netherlands culture in the Country Briefings section of our app. Click below to watch a preview. For more cultural intelligence sign up to a free trial of Country Navigator and immerse yourself in the culture of your choice….
Save money, avoid delays, reduce stress and enjoy your travel experience a lot more with these 20 tips from a pro traveler….


text:
Things I Love About Mr. Rogers
(via mental floss archives)
1. Even Koko the Gorilla loved him
Most people have heard of Koko, the Stanford-educated gorilla who could speak about 1000 words in American Sign Language, and understand about 2000 in English. What most people don't know, however, is that Koko was an avid Mister Rogers' Neighborhood fan. As Esquire reported, when Fred Rogers took a trip out to meet Koko for his show, not only did she immediately wrap her arms around him and embrace him, she did what she'd always seen him do onscreen: she proceeded to take his shoes off!
2. He Made Thieves Think Twice
According to a TV Guide piece on him, Fred Rogers drove a plain old Impala for years. One day, however, the car was stolen from the street near the TV station. When Rogers filed a police report, the story was picked up by every newspaper, radio and media outlet around town. Amazingly, within 48 hours the car was left in the exact spot where it was taken from, with an apology on the dashboard. It read, "If we'd known it was yours, we never would have taken it."
3. He Watched His Figure to the Pound!
In covering Rogers' daily routine (waking up at 5; praying for a few hours for all of his friends and family; studying; writing, making calls and reaching out to every fan who took the time to write him; going for a morning swim; getting on a scale; then really starting his day), writer Tom Junod explained that Mr. Rogers weighed in at exactly 143 pounds every day for the last 30 years of his life. He didn't smoke, didn't drink, didn't eat the flesh of any animals, and was extremely disciplined in his daily routine. And while I'm not sure if any of that was because he'd mostly grown up a chubby, single child, Junod points out that Rogers found beauty in the number 143. According to the piece, Rogers came "to see that number as a gift… because, as he says, "the number 143 means 'I love you.' It takes one letter to say 'I' and four letters to say 'love' and three letters to say 'you.' One hundred and forty-three."
4. He Saved Both Public Television and the VCR
Strange but true. When the government wanted to cut Public Television funds in 1969, the relatively unknown Mister Rogers went to Washington. Almost straight out of a Capra film, his 5-6 minute testimony on how TV had the potential to give kids hope and create more productive citizens was so simple but passionate that even the most gruff politicians were charmed. While the budget should have been cut, the funding instead jumped from $9 to $22 million. Rogers also spoke to Congress, and swayed senators into voting to allow VCR's to record television shows from the home. It was a cantankerous debate at the time, but his argument was that recording a program like his allowed working parents to sit down with their children and watch shows as a family.
5. He Might Have Been the Most Tolerant American Ever
Mister Rogers seems to have been almost exactly the same off-screen as he was onscreen. As an ordained Presbyterian minister, and a man of tremendous faith, Mister Rogers preached tolerance first. Whenever he was asked to castigate non-Christians or gays for their differing beliefs, he would instead face them and say, with sincerity, "God loves you just the way you are." Often this provoked ire from fundamentalists.
6. He Was Genuinely Curious about Others
Mister Rogers was known as one of the toughest interviews because he'd often befriend reporters, asking them tons of questions, taking pictures of them, compiling an album for them at the end of their time together, and calling them after to check in on them and hear about their families. He wasn't concerned with himself, and genuinely loved hearing the life stories of others. Amazingly, it wasn't just with reporters. Once, on a fancy trip up to a PBS exec's house, he heard the limo driver was going to wait outside for 2 hours, so he insisted the driver come in and join them (which flustered the host). On the way back, Rogers sat up front, and when he learned that they were passing the driver's home on the way, he asked if they could stop in to meet his family. According to the driver, it was one of the best nights of his life—the house supposedly lit up when Rogers arrived, and he played jazz piano and bantered with them late into the night. Further, like with the reporters, Rogers sent him notes and kept in touch with the driver for the rest of his life.
7. He was Color-blind
Literally. He couldn't see the color blue. Of course, he was also figuratively color-blind, as you probably guessed. As were his parents who took in a black foster child when Rogers was growing up.
8. He Could Make a Subway Car full of Strangers Sing
Once while rushing to a New York meeting, there were no cabs available, so Rogers and one of his colleagues hopped on the subway. Esquire reported that the car was filled with people, and they assumed they wouldn't be noticed. But when the crowd spotted Rogers, they all simultaneously burst into song, chanting "It's a wonderful day in the neighborhood." The result made Rogers smile wide.
A few other things:
9. He got into TV because he hated TV. The first time he turned one on, he saw people angrily throwing pies in each other's faces. He immediately vowed to use the medium for better than that. Over the years he covered topics as varied as why kids shouldn't be scared of a haircut, or the bathroom drain (because you won't fit!), to divorce and war.
10. He was an Ivy League Dropout. Rogers moved from Dartmouth to Rollins College to pursue his studies in music.
11. He composed all the songs on the show, and over 200 tunes.
12. He was a perfectionist, and disliked ad libbing. He felt he owed it to children to make sure every word on his show was thought out.
13. Michael Keaton got his start on the show as an assistant– helping puppeteer and operate the trolley.
14. Several characters on the show are named for his family. Queen Sara is named after Rogers' wife, and the postman Mr. McFeely is named for his maternal grandfather who always talked to him like an adult, and reminded young Fred that he made every day special just by being himself. Sound familiar? It was the same way Mister Rogers closed every show.
15. The sweaters. Every one of the cardigans he wore on the show had been hand-knit by his mother.
Posted in Guy-con, ListsTagged list, mr. rogersBy PepperJess3 Comments
3 thoughts on "Things I Love About Mr. Rogers"
locamotion says:
I've written about America's Favorite Neighbor, too. I didn't know about his connection to Koko, though. The older I get, the less cheesy this man remains in the memory bank. Cool.
pepperedthought says:
Definitely less and less cheesy as the days go by. He was brilliant in his simplicity!
Jeff The Jeff says:
I'm going to use this information to guilt-trip the heck out of my mom.
"Mr. Rogers' mom knit him a bunch of sweaters! Where are my sweaters, ma? Where are MY sweaters?!"
← Creativity
Bettie Page →


text:
Alonso: This year Indy 500 is my highest priority
The Indianapolis 500, and the possibility of taking the Triple Crown of Motorsport, remains Fernando Alonso's top priority for this year despite securing a Formula 1 comeback with Renault for 2021.
The Spaniard is a double F1 world champion and Monaco Grand Prix winner as well as two-times Le Mans 24 Hours endurance champion.
Victory at Indianapolis next month would make him only the second driver, after the late Briton Graham Hill, to complete the Triple Crown.
Alonso led Indianapolis for 27 laps on his 2017 debut before his car's engine expired, and failed to qualify in 2019. He will line up for Arrow McLaren SP in a race rescheduled from May 24 to Aug. 23 due to the COVID-19 pandemic.
"This year is the highest priority, I only have that race, " he told reporters on Wednesday in a video conference when asked about Indianapolis and the triple after Renault announced his return to F1.
"It's 100%. I'm committed to that. I would love to achieve that one day. Obviously it's a very special race and it's going to be even more special this year because of the lack of preparation.
"Normally you go there to test… This year there is nothing. I am really having issues even to travel to the United States for August.
"It's going to be tight and it's going to be a coin in the air more than ever. I'm happy to be there and to feel the speed," Alonso added.
Bottas: No tension with Lewis after Austria
Alonso: In Formula 1 the stopwatch matters, not the age


This concerns actions for breach of contract. The court will not give a decree of specific performance unless there is mutuality, that is to say, unless the remedy would be available to both parties. For instance, a minor will never obtain specific performance of contracts which cannot be enforced against him because of his infancy.
Reference: The Penguin Business Dictionary , 3rd edt.


When you meet Mark Coggins, he seems to be the quiet, former IT professional that he once was. Hah! There's a whole different warped side of him revealed in his collection of nonfiction essays, Prom Night and Other Man-Made Disasters.
But, then, he might have been set up to have a weird sense of humor. He had to find a way to rise above some of the things that happened to him. In "Equipment Makes the Man," he tells about his father's shopping mistakes, one of which led to Mark dropping out of Boy Scouts. It's a little embarrassing to take army surplus and Coleman equipment on a sixth grade camping trip.
Coggins is brutally honest about his failures with women, beginning with the girl who refused to go steady with him in seventh grade. There was the belly-dancing girlfriend who cheated on him, the possible prom dates who were stolen by his best friends, the professor he had a crush on, and the woman he terrified at work when he sent her a forged email. It's hard not to feel sorry for him. At the same time, his appearance at the train station to meet one girlfriend was a little odd. He dressed as a duck.
It isn't all school or dating stories in Prom Night and Other Man-Made Disasters. "Westboro Blues" is a poignant story about bigots, showing how some people never grow beyond their youthful beliefs. They never see people and the world as it is, and, if they have to, they compartmentalize their lives in order to hold on to their beliefs. "WTF?" was one of my favorite stories. Coggins skewers a company he once worked for, a company with a couple of incompetent men at the top. If you've ever left a job because of a lousy boss, Mark's departing gestures will make you happy.
Mark Coggins and I are the same age. My final thoughts after reading Prom Night and Other Man-Made Disasters? All of us have embarrassing stories in our past. It's not easy growing up. But, most of us don't have the guts to tell those stories on ourselves. Mark makes us laugh with him, while admiring his courage in admitting he sometimes made a fool of himself.
Mark Coggins' website is www.markcoggins.com.
Prom Night and Other Man-Made Disasters by Mark Coggins. Philodox Press. 2012. ISBN 9781467985710 (paperback), 181p.
FTC Full Disclosure - I bought my book.


Make sure your young basketball fan is not only supporting their favorite team, but their favorite player as well! The Boston Celtics Youth NBA Name and Number T-Shirt is the best way to show off your kiddos immense fandom and loyalty! This 100% cotton features official team colors and logos, rib knit collar, screen printed graphics, and is tagless! The team name and player number is on the front of the shirt and the players last name and number is on the back! Perfect for practice, school, heading to the big game, or watching from home, everyone will know who your young fan roots for! Keep your youngster in style this season, order this shirt today!
MADE FROM: 100% cotton, light weight and comfortable for everyday wear!
FEATURES: the name and number shirt features official team colors and logos, rib knit collar, screen printed graphics, and is tagless!
GREAT WARDROBE ADDITION: any young NBA would love to add this shirt to their Celtics spirit wear collection. Perfect for practice, school, heading to the big game, or watching from home!


text:
BBBf-Sizzlereads-bestbookboyfriends & L.A.B.B
Cover reveals, Excerpts & More
Bargain Buys Books & Freebies
Read. Relax Retreat
AUTHOR BOOK SIGNINGS AND EVENTS
Featured Tear Jerkers. Books
Featured MC books
Featured Alpha series book collections
FEATURED - ROMANTIC SUSPENSE/DARK READS
Featured Heartwarming Sizzlereads
Featured Rockstar reads
Featured Hot sizzle-reads. Books
Featured ROM-COM Books
SPOTLIGHT AUTHORS
READERS REVIEW GUIDE
THE BLOG CAFE
FIVE STAR READS 2018
5 star book reviews 2019
Cover Reveal Touching Down: Nicole Williams.
Coming October 9th
Pre-order exclusively on
The whole world might be in love with him. But all he's ever loved is her.
Grant Turner's name is synonymous with football. The fans and media can't get enough of the player known as The Invincible Man, a nickname he earned while growing up in one of the toughest neighborhoods in the country and the nickname he's kept by being one of the best players in professional football today. No one can take him down. He's unstoppable.
But even a suit of armor has its weak point, and Grant's has always been Ryan Hale.
They were a couple of kids when they fell in love, and just when it looked like the happy ending neither expected was within reach, Ryan disappeared. No explanations. No good-byes.
Grant coped by throwing himself into the game for seven years, and he's finally moved on. Or so he thinks.
When she walks back into his life, all of those feelings come crashing back, despite the warnings in his head that tell him she'll leave him again. Grant can withstand the league's toughest defensive line, but he's always been weak where she's concerned.
No man can take Grant Turner down.
But one woman certainly can.
One woman will.
Nicole Williams is the New York Times and USATODAY bestselling author of contemporary and young adult romance, including the Crash and Lost & Found series. Her books have been published by HarperTeen and Simon & Schuster in both domestic and foreign markets, while she continues to self-publish additional titles. She is working on a new YA series with Crown Books (a division of Random House) as well. She loves romance, from the sweet to the steamy, and writes stories about characters in search of their happily even after. She grew up surrounded by books and plans on writing until the day she dies, even if it's just for her own personal enjoyment. She still buys paperbacks because she's all nostalgic like that, but her kindle never goes neglected for too long. When not writing, she spends her time with her husband and daughter, and whatever time's left over she's forced to fit too many hobbies into too little time.
Nicole is represented by Jane Dystel, of Dystel and Goderich Literary Agency.
Website Facebook Twitter Blog Instagram
Author: Janice


text:
Juraj II. Šubić Bribirski (?, o. 1290. – Klis, 15. prosinca 1328.), hrvatski velikaš iz plemenitog roda bribirskih knezova. Godine 1303. naslijedio je od strica Jurja I. titulu "kneza dalmatinskih gradova" (civitatum maritimum comes) te trogirskoga, ninskog i omiškog kneza. Također, obnašao je časti kneza Tropolja (od 1301.) i splitskog kneza.

Podrijetlo i obitelj

Bio je drugi sin bana Pavla I., brat Mladena II., Pavla II., Grgura IV. i Marka IV. U genealoškim tablicama ponekad se navodi i kao Juraj III. Imao je petoro djece:

 Mladen III. († 1348.), štit Hrvata; oženio se srpskom princezom Jelenom Nemanjić.
 Pavao III. († 1356.), oženio se mletačkom plemkinjom Katarinom Dandolo.
 Jelena († 1378.), udala se za kneza Vladislava Kotromanića, majka bosanskog kralja Tvrtka I.
 Božidar (Deodat) († o. 1347.), bribirski knez 1345. – 1347.
 Katarina, supruga Ivana Jurišića

Životopis

U izvorima se prvi put spominje 1300. godine kao knez Splita. Godine 1315. podijelio je povlastice Omišu, kojima je regulirao omiško gusarenje. Bio je najbliži suradnik brata Mladena II., nakon čijeg je pada 1322. godine postao starješina roda Šubića. Uspio je u savezu s ostalim hrvatskim velikašima oslabiti utjecaj bana Ivana Babonića u Hrvatskoj, ali nije se uspio nametnuti kao neosporni vođa u Hrvatskoj.

Sukobljavao se s vojvodom Nelipcem II., Venecijom i pobunjenim Splitom. Godine 1324. porazio ga je i zarobio Nelipac u bici kraj Knina. Za vrijeme zatočeništva o njegovim se posjedima brinula supruga Lelka, koja je spriječila rasipanje njegove baštine. Oslobođen je 1326. godine. Pregovorima je postigao sporazum sa Šibenikom i Splitom koje je vratio pod svoj nadzor, ali je 1328. izgubio Nin.

Bilješke

Literatura

 Opća i nacionalna enciklopedija u 20 svezaka, sv. III, Zagreb, 2005.

Životopisi, Hrvatska
Šubići

redpajama_set_name: RedPajamaWikipedia


text:
Q: camel does not stop converting message I have a problem within one of my camel routes. It is a route that handles soap requests and does some exchanges...
After the exchange the route just hangs and after setting logging to TRACE I found out, that camel does an endless converting, that never stops:

2015-09-24 10:24:03,227 [TRACE]
  (org.apache.camel.impl.converter.DefaultTypeConverter:231) -
  Converting org.apache.camel.impl.DefaultMessage -> java.lang.String
  with value: Message: Message: Message: Message: Message: Message:
  Message: Message: Message: Message: Message: Message: Message:
  Message: Message: Message: Message: Message: Message: Message: [Body
  is null] 2015-09-24 10:24:03,230 [TRACE]
  (org.apache.camel.impl.converter.DefaultTypeConverter:231) -
  Converting org.apache.camel.impl.DefaultMessage -> java.lang.String
  with value: Message: Message: Message: Message: Message: Message:
  Message: Message: Message: Message: Message: [Body is null] 2015-09-24
  10:24:03,232 [TRACE]
  (org.apache.camel.impl.converter.DefaultTypeConverter:231) -
  Converting org.apache.camel.impl.DefaultMessage -> java.lang.String
  with value: Message: Message: Message: Message: Message: Message:
  Message: Message: Message: Message: [Body is null] 2015-09-24
  10:24:03,234 [TRACE]
  (org.apache.camel.impl.converter.DefaultTypeConverter:231) -
  Converting org.apache.camel.impl.DefaultMessage -> java.lang.String
  with value: Message: Message: Message: Message: Message: Message:
  Message: Message: Message: [Body is null]
  ...

This seems to happen after an exchange, before sending the message to an remote soap endpoint.
Strangely I have some other routes, where this works without hanging in the endless loop.
I just updated to camel 2.15.3, but this still happens.
I'm using java 7 and tomcat 7.
How can I find out, where the problem is and how to fix this?
Thanks, C

A: I found out, why the endless converting happened: It was our proxy server, that blocked the request being send to the forreign endpoint...


text:
#ifndef _LIB_FLATE_H_
#define _LIB_FLATE_H_

#include <time.h>

typedef struct tempUnit {
    struct tempUnit *next;
    struct tempUnit *prev;
    char *data;
    char *name;
    int tdata;
    int type;
} tempUnit;

typedef struct {
    char *name;
    tempUnit *unit;
} st_ptr;

typedef struct {
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    int tempnbVar, tempnbZone, tempnbTable;
    char *curzone, *curtable;
    char *tempBuf;
    char *cookies;
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} Flate;

typedef struct s_form {
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    int (*checkfunc)(int c);
    struct s_form *next;
} FlateForm;

extern Flate *flateSetFile(Flate **tmplte, char *filename);
extern void flateSetCookie(Flate *tmplte, char *name, char *value, char *domain, time_t expires);
extern int flateGetCookie(char *value, int valuesz, char *cookie, int (*checkfunc)(int c));
extern void flateSetVar(Flate *tmplte, char *fld, char *val);
extern void flateDumpTableLine(Flate *tmplte, char *line);
extern void flatePrint(Flate *tmplte, char *type);
extern char *flatePage(Flate *tmplte);
extern void flateFreeMem(Flate *tmplte);
extern FlateForm *flateAddForm(FlateForm *field, char *name, int sz, int (*checkfunc)(int c));
extern int flateReadForm(FlateForm *form);
extern FlateForm *flateSetForm(char *s);
extern char *flateGetForm(FlateForm *form, char *name);
extern void flateDestroyForm(FlateForm **form);

#endif

redpajama_set_name: RedPajamaGithub


text:
Samostan Tatev (armensko: Տաթևի վանք Tat'evi vank' ) je armenski apostolski samostan iz 9. stoletja, ki stoji na veliki bazaltni planoti blizu vasi Tatev v provinci Sjunik v jugovzhodni Armeniji. Izraz Tatev se običajno nanaša na samostan. Samostanski kompleks stoji na robu globoke soteske reke Vorotan. Znan je kot škofovski sedež Sjunika in je igral pomembno vlogo v zgodovini regije kot središče gospodarskega, političnega, duhovnega in kulturnega delovanja.

Samostan je v 14. in 15. stoletju gostil eno najpomembnejših armenskih srednjeveških univerz, univerzo Tatev, ki je prispevala k napredku znanosti, religije in filozofije, reprodukciji knjig in razvoju miniaturnega slikarstva. Diplomanti univerze Tatev so prispevali k ohranjanju armenske kulture in vere v enem najbolj burnih obdobij v njeni zgodovini.

Samostan je 'najbolj znano mesto' v Sjuniku .

Krila Tateva, žičnica iz Tateva do vasi Halidzor, je bila odprta oktobra 2010 . V Guinnessovo knjigo rekordov je bila vključena kot »najdaljša neprekinjena žičnica z dvema progama«.

Etimologija
Po tradiciji je samostan Tatev poimenovan po Eustateju, učencu apostola sv. Tadeja, ki je na tem območju pridigal in bil mučen. Njegovo ime se je razvilo v Tatev .

Priljubljena etimologija vključuje legendo, ki pripoveduje o dogodku, ki je vezan na gradnjo glavne cerkve, kjer se je vajenec na skrivaj povzpel na vrh stolpa, kjer je nameraval postaviti križ po svoji zasnovi. Vendar pa je vajenca opazil njegov mojster med spustom. Šokiran nad odkritjem je izgubil oporo in padel v prepad, med padanjem je Boga prosil, naj mu podeli krila, kar je v armenščini: Ta Tev .

Zgodovina
Samostan Tatev stoji v jugovzhodni Armeniji, na območju antične armenske province Sjunik, nedaleč od mesta Goris in 280 km od Erevana. Tateška planota je v uporabi že od predkrščanskih časov, tu je bil poganski tempelj. Tempelj je po prevzemu krščanstva v Armeniji v 4. stoletju nadomestila skromna cerkev.

Razvoj samostana Tatev se je začel v 9. stoletju, ko je postal sedež škofije Sjunik. Zgodovinar Stepanos Orbelian v svoji Zgodovini province Sjunik opisuje gradnjo nove cerkve blizu stare leta 848 s finančno pomočjo princa Filipa iz Sjunika. Z rastjo gospodarskega in političnega pomena centra starajoče se stavbe niso več ustrezale zahtevam, zato je škof Hovhanes (Janez) dobil finančno pomoč princa Ašota iz Sjunika za gradnjo novega samostana.

V začetku 11. stoletja je Tatev gostil okoli 1000 menihov in veliko obrtnikov. Leta 1044 so oborožene sile sosednjih emiratov uničile cerkev svetega Gregorja in okoliške zgradbe, ki so jih kmalu zatem rekonstruirali. Leta 1087 je bila severno od kompleksa zgrajena cerkev svete Marije. Samostan je utrpel znatno škodo med invazijami Seldžukov v 12. stoletju in potresom leta 1136. Leta 1170 so seldžuški Turki oropali samostan in požgali približno 10.000 rokopisov. Samostan je bil obnovljen s prizadevanji škofa Stepanosa konec 13. stoletja.

Samostan je bil v času mongolske vladavine oproščen davkov. S pomočjo družine Orbelian je ponovno pridobil svojo gospodarsko moč. Njegov vpliv se je še stopnjeval, ko so leta 1286 Orbelijci prevzeli nadzor nad samostanom, Stepanos Orbelian pa je bil posvečen v metropolita in mu je uspelo ponovno združiti številne okoliške škofije v svojem kraljestvu. Z ustanovitvijo univerze v 14. stoletju je Tatev postal glavno središče armenske kulture.

Med pohodi Timur Lenka v Sjunik (1381-1387) je bil Tatev oplenjen, požgan in opuščen velik del ozemlja. Samostan je dobil dodaten udarec med invazijo Šahruh Mirze leta 1434.

Samostan se je ponovno rodil v 17. in 18. stoletju; obnovljene so bile njegove stavbe in dodane nove. Ponovno so ga oropali med vpadi perzijskih sil, ki jih je leta 1796 vodil Aga Mahmet kan. Leta 1836 je carska Rusija ustanovila metropolitansko oblast Tatev z vsiljevanjem Pologenije in Sjunik je postal del Erevanske škofije.

26. aprila 1921 je 2. Pan-Zangezurijski kongres, ki je potekal v Tatevu, razglasil neodvisnost Republike gorska Armenija. Država je vključevala regije kanjona Tatev, Sisian in Gndevaz. Mesto Goris je postalo glavno mesto nepriznane države, Garegin Nzhdeh pa vrhovni poveljnik.

Samostan je bil hudo poškodovan po potresu leta 1931, kupola cerkve sv. Pavla in Petra in zvonik sta bila uničena. V zadnjih letih so cerkev obnovili, zvonik pa do danes ostaja uničen.

Stavbe
Obzidan Tatevski samostan sestavljajo tri cerkve – sv. Pavla in Petra, sv. Gregorja Razsvetitelja in Matere Božje - knjižnica, refektorij, zvonik, mavzolej in druge upravne in pomožne stavbe.

Cerkev sv. Pavla in Petra je bila zgrajena med letoma 895 in 906. Do južne stene cerkve je bila leta 1043 dodana obokana dvorana. Kmalu po letu 1087 je bila ob severnih utrdbah dodana cerkev Matere Božje. Leta 1295 je cerkev sv. Gregorja Razsvetitelja, ki je bila porušena med potresom, na pobudo tedanjega škofa Stepanosa Orbeliana, nadomestila nova. Leta 1787 je bil zgrajen mavzolej armenskega teologa Gregorja Tatevevskega ob zahodni steni cerkve svetega Gregorja in do konca 19. stoletja zgrajeno preddverje in zvonik na zahodnem vhodu cerkve sv. Pavla in sv. Peter.

Poleg stavb se samostan ponaša s pokončnim nihalom, znanem kot Gavazan (palica). Ta steber je bil zgrajen v 10. stoletju po dokončanju cerkve Pavla in Petra in je preživel številne invazije in potrese relativno neokrnjen.

V 14. stoletju so na jugu, zahodu in severu samostana postavili utrdbe z zgradbami za bivanje, administracijo in druge namene. V 18. stoletju so naredili dodatke za nastanitev škofovega bivališča, celice za redovnike, shrambo, jedilnico, kuhinjo, pekarno in klet. Šestnajst pravokotnih učilnic, pokritih z obokanimi stropi, je bilo zgrajenih vzdolž glavnih utrdb.

Severovzhodno od samostana je zunaj obzidja je stiskalnica olja. Ima štiri proizvodne prostore, vključno z dvema skladiščnima kupolama in stiskalnimi komorami z obokanimi stropi. Ta mlin je eden najbolje ohranjenih v Armeniji in je odličen prikaz stiskalnic oljk, zgrajenih v regiji v srednjem veku.

Šolske zgradbe samostana Tatev so značilne za arhitekturni slog samostanske vzgojne arhitekture, ki se je uporabljal v poznem srednjeveškem obdobju.

Cerkev sv. Pavla in Petra
Cerkev sv. Pavla in Petra je posvečena obema Kristusovima apostoloma. Imenujejo jo tudi cerkev Apostolov ali stolnica. Verjetno je bila ta cerkev zgrajena na lokaciji stare cerkve in je tudi podedovala ime. Na zahodni steni cerkve je ohranjen posvečen križni kamen, ki ga je postavil škof Hovhanes, ki daje pomembne zgodovinske podatke o gradnji cerkve.

Cerkev sv. Pavla in Petra je najstarejša ohranjena stavba v kompleksu samostana. Zgrajena je bila s pobudo škofa Hovhanesa in finančno pomočjo vladajočega princa Ašota, njegove žene princese Šušan ter princev Grigorja Supana in Džagika.

Cerkev je pravokotna bazilika, ki se razprostira od zahoda do vzhoda. V apsidi na vzhodni strani je oltar, na njem pa sta dve shrambi, vsaka na ena strani. Osrednja kupola je na vzhodni strani podprta z dvema stebroma, na zahodni pa so prizidki kot oporniki. Streha ima dvoslojni, nagnjen slog, prekrit z velikimi strešniki. Notranjost in zunanja stena sta prekrita s klesanim kamnom. Stene in kupola imajo ozka okna, ki omogočajo osvetlitev ladje. Vzhodna fasada vsebuje niše, ki so okronane z reliefnimi portreti njenih dobrotnikov, princa Ašota in princese Šušan, in so obrobljene z zaščitnimi kačami.

Leta 930 so bile cerkvene stene na pobudo škofa Hakoba Dvinecija okrašene s freskami. Delo so izvedli francoski umetniki, povabljeni iz Konstantinopla, ki so delovali skupaj z lokalnimi armenskimi slikarji. Obrazi glavnih junakov imajo vzhodne lastnosti, vsi napisi pa so v armenščini.  Vzhodno apsido krasi Kristus na prestolu s svojimi učenci in svetniki. Na zahodni steni je upodobljena Poslednja sodba, medtem ko severna stena prikazuje prizore iz Jezusovega rojstva. Malo teh okraskov je ohranjenih so danes.

Cerkev sv. Gregorja Razsvetitelja
Cerkev sv. Gregorja meji na južno steno cerkve sv. Pavla in Petra. Cerkev je bila prvič zgrajena med letoma 836–848 z ukazom in finančno podporo princa Filipa iz Sjunika. Obnovljena je bila v 11. stoletju takoj po seldžuških pohodih, a je bila med potresom leta 1138 ponovno popolnoma uničena. V takem stanju je ostala več kot stoletje, dokler ni bila obnovljena leta 1295.

Cerkev svetega Gregorja je preprosta v gradnji. Nima kupole. V severni in južni steni ima tri podporne stebre, na katerih so loki, na katere je nameščena poševna streha. Vhod je okrašen s finimi geometrijskimi rezbarijami.

Cerkev sv. Matere Božje
Cerkev Matere Božje je ob severnem obzidju samostanskega kompleksa. Zgrajena je bila leta 1087 kot drugo nadstropje pokritega mavzoleja blizu vhoda. Med potresom 1931 je bila močno poškodovana, vendar so jo obnovili v poznem 20. stoletju.

Gavazan (nihajoč steber)
Nihajni steber (imenovan Gavazan Siun) je spomenik, posvečen sveti Trojici. Stoji južno od stolnice. To je steber, visok približno 8 metrov, kronan s križem tipa hačkar. Datiran je v 10. stoletje, križ ni bil dodan prej kot v 18. stoletju, lahko pa njegova oblika temelji na zgodnejšem primeru .

Ključni namen stebra je opozoriti na manjši potres in s tem dati zgodnje opozorilne signale o možnih potresih. Po premiku se steber vrne v navpični položaj.

Meniški fevdalizem
Samostan Tatev je bil fevdalna organizacija . Kmalu po ustanovitvi je postal vidno in vplivno samostansko središče, saj je bil lastnik obsežnih zemljišč in veliko vasi. Najzgodnejši sklici na njegovo ustanovo so opisani v Zgodovini province Sjunik Stepanosa Orbeliana, kjer Orbelian opisuje sporazum, s katerim je princ Ašot, sin princa Filipéa iz Sjunika, določil svoje meje.

Kmalu po prenosu dežel so kmetje Couraberda (današnji Svaranc), Tamalek, Aveladašt in drugih vasi zavrnili oblast samostana in začeli z njim daljši boj. Dvakrat so se protesti spremenili v odprte vstaje in se z nekaj prekinitvami nadaljevali do leta 990, ko je sjuniški kralj Vasak uničil Couraberd in razpršil njegovo prebivalstvo. Zgodovinarji povezujejo vstaje s tondrakijansko herezijo, ki se je pojavila v armenski zgodovini približno v istem času kot kmečke vstaje (9.-11. stoletje) in ki je bila približno v istem času tudi zatrta. Tondraki (armensko: Թոնդրակեաններ) so bili člani proti fevdalne, heretične krščanske sekte, ki je cvetela v srednjeveški Armeniji med zgodnjim 9. stoletjem in 11. stoletjem in je bila osredotočena na okrožje Tondrak, severno od jezera Van v zahodni Armeniji.

Tatevška škofija je imela v lasti 47 vasi in je od 677 drugih vasi prejemala desetino . Dobil je tako gospodarsko moč, da se je škof Hakob v letih 940–950 skušal odcepiti od matičnega sedeža Ečmiadzina. Njegove separatistične sanje so bile uničene, ko ga je anatematiziral katolikos Anania Mokaci. Okoliške regije so izkoristile oslabljen položaj Tateva, zavrnile njegovo premoč in ustanovile svoje škofije. Leta 958 je škof Vahan (pozneje katolikos Vahan Sjuneci) povrnil nekatere škofovske pravice in lastnine. Leta 1006 je škofu Hovhanesu . uspelo ponovno vzpostaviti metropolitanske privilegije škofije.

Univerza Tatev

Samostan Tatev je igral pomembno vlogo pri napredku kulturnega življenja Armenije. Stepanos Orbelian v svoji Zgodovini pokrajine Sjunik opisuje, kako je samostan služil kot skladišče tisočih dragocenih rokopisov, samostanskih in uradnih dokumentov in pogodb. Samostan je gostil univerzo, ki je delovala med letoma 1390 in 1434, kjer so se profesorji izobraževali in usposabljali ne le za provinco Sjunik, ampak tudi za druge regije Armenije.

V začetku 1340-ih se je Hovhan Vorotneci po padcu univerze v Gladzorju odpravil iz Vajota Dzor in prispel v Dzghook v Vorotnu, dobil blagoslov in pokroviteljstvo Orbelianov za napredovanje izobraževalnega sistema v Tatevu. Vorotneci je svoje izkušnje iz Gladzorja izkoristil za pregled izobraževalnega načrta ter za organizacijo sprejema in razvrščanja študentov in profesorjev. To je omogočilo, da se je Tatev v kratkem času preoblikoval v zaslužno univerzo, ki je privabila študente iz različnih regij Velike Armenije in Kilikije.

Vorotneci je univerzo organiziral v tri oddelke - študij armenskih in tujih spisov, študij kiparskih umetnosti in nazadnje študij glasbe. Prva je vključevala študij humanističnih in družboslovnih znanosti, filozofije, govorništva, slovnice, literature in zgodovine. Drugi se je osredotočil na kaligrafijo, likovno oblikovanje knjig in slikanje miniatur in fresk. Tretji oddelek je vključeval starodavno glasbo in muzikologijo.

Po smrti Vorotnecija leta 1388 je Grigor Tatevaci prevzel vlogo opata. Uspelo mu je dvigniti standard Univerze na neslutene višine. V času svojega mandata je Tatev doživel svoje najbolj dinamično in ustvarjalno obdobje. Teme poučevanja so vključevale armensko literaturo, razlago in analizo Stare in Nove zaveze, dela svetih očetov, dela Platona, Aristotela, Filona Aleksandrijskega in Porfirija ter njihove analize.

Univerza v Tatevu je postala vodilno znanstveno in kulturno središče tistega časa. Njeni dosežki se zdijo še pomembnejši, če jih gledamo v kontekstu burnih političnih razmer in neskončnih opustošenj obdobja, ko je bila univerza občasno prisiljena na selitev, da bi se izognili pregonom in napadom sil.

Univerza Tatev je vodila prizadevanja za boj proti vplivu Fratres Unitores v Armeniji. Unitores je bil armenska veja dominikanskega reda in rezultat pobude papeža Janeza XXII. za razširitev vpliva Svetega sedeža v Rimu na Azijo in latinizacijo Velike Armenije. Študenti univerze Tatev so se borili proti spreobračanju Unitores in si prizadevali zmanjšati njihov vpliv na armensko apostolsko cerkev in ljudi.

Po razpadu armenskega kraljestva Kilikija leta 1375 so tatevski učenjaki pod vodstvom Grigorja Tatevacija in nato njegovih privržencev, zlasti Tovma Mecobecija in Hovhanesa Hermonecija, igrali pomembno vlogo pri prepričevanju oblasti, da bi vrnili vrhovni patriarhalni prestol Armenske cerkve iz Sisa v Ečmiadzin, prvotni sedež svetega Gregorja Razsvetitelja. Prizadevanje je uspelo leta 1441 po sklepih nacionalnega kongresa Ečmiadzina, ki se je izkazal za enega najpomembnejših dogodkov v armenski zgodovini tistega stoletja.

Ugled univerze je začel upadati po smrti Grigorja Tatevacija. Kljub napornim prizadevanjem svojih novih voditeljev so politični in gospodarski pogoji, zapleteni z varnostnimi zapleti tega obdobja, povzročili, da je Tatev izgubil svoj sijaj in končno prenehal delovati po napadih Šahruh Mirze leta 1434.

Narodna dediščina
Leta 1995 so bili samostani Tatev, Tatevi Anapat in sosednja območja doline Vorotan dodani na okvirni seznam svetovne dediščine pri Organizaciji Združenih narodov za izobraževanje, znanost in kulturo (Unesco).

Fundacija oživljanja Tateva
Fundacijo Tatev Revival, ustanovljena leta 2008, je ustanovil vplivni vlagatelj in podjetnik Ruben Vardanjan. Glavni cilj je obnova samostana Tatev. V ta cilj je vključena infrastruktura okoli samostana ob spoštovanju njegovega kulturnega, zgodovinskega in duhovnega pomena ter hkratni razvoj lokalnih skupnosti. Uradni začetek projekta je bil oktobra 2010 z zagonom najdaljše reverzibilne žičnice na svetu aerial tramway (dolga 5750 m), kar je del prizadevanja za oživitev turizma na tem območju. Ta povezava, imenovana Krila Tateva, povezuje vas Halidzor s samostanom Tatev. Projekt izvaja švicarski kompetenčni center skupine Doppelmayr / Garaventa in stane 25 milijonov ameriških dolarjev . Žičnico Krila Tateva je v času obratovanja uporabljalo že več kot 640.000 turistov. V mestu Goris se je po uvedbi programa odprlo več kot 20 hotelov in penzionov. V bližnjih vaseh so domačini ustanovili 24 prenočišč. Ekološka nevladna organizacija Ark Ecok, ki temelji v Kapanu, trenutno gradi infrastrukturo za pohodniške poti za povezavo Kapana in samostana Tatev, da bi spodbudila ekoturizem v regiji Sjunik.

Rekonstrukcija samostana Tatev
Oljarna je bila ena prvih arhitekturnih struktur, obnovljena leta 2010 kot del programa oživljanja Tatev in zdaj deluje v celoti.
Od poletja 2016 obiskovalci vstopajo v kompleks samostana Tatev skozi obnovljeni severni vhod. V letu 2017 so bili postavljeni razstavni panoji v bližini vhoda, ki predstavljajo obnovitev samostana. Izboljšalo se je tudi sosednje ozemlje. Rekonstrukcijska dela na izviru vode so se začela konec leta 2015. Izvedene so bile raziskave, da bi ugotovili prvotno lokacijo vodnega vira in kako je bil zgrajen. Poleti 2016 so izvir obnovili na njegovi zgodovinski lokaciji v bližini severnega vhoda.

Obnova cerkve Surb Astvacacin v prvotnem videzu je bila vključena v prvo fazo obnove samostanskega kompleksa Tatev. Dela so se začela avgusta 2016 po odobritvi načrta obnove in so zdaj v zaključni fazi. Trenutno delavci končujejo obnovo kupole cerkve in svetlobnega bobna, na katerem počiva.

Sklici

Literatura
Kouymjian, Dickran. "Index of Armenian Art: Armenian Architecture – Tat'ev". Armenian Studies Program. California State University, Fresno.

Zunanje povezave

 Official Site
 Wings of Tatev for iPhone, iPod touch, and iPad on the iTunes App Store
 Wings of Tatev | developWay CJSC
 Article Armeniapedia.org: Tatev Monastery
 3D Virtual Model of Tatev Monastery
 Tatev Monastery. 3600 Panorama
 Seasons, weather and climate in Tatev
 Wings of Tatev, the world longest non-stop double track aerial tramway that leads to the monastery

Samostani v Armeniji
Ustanovitve leta 895


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Selma (film)
Selma, Alabama
Selma (gastropod)
Film (Iranian magazine)
Film (film)
Lubrication theory
Selma is a 2014 American historical drama film directed by Ava DuVernay and written by Paul Webb. It is based on the 1965 Selma to Montgomery voting rights marches led by James Bevel,Hosea Williams, Martin Luther King, Jr., and John Lewis. The film stars actors David Oyelowo as King, Tom Wilkinson as President Lyndon B. Johnson, Tim Roth as George Wallace, Carmen Ejogo as Coretta Scott King, and rapper and actor Common as Bevel.
Selma premiered at the American Film Institute Festival on November 11, 2014, began a limited US release on December 25, and expanded into wide theatrical release on January 9, 2015, two months before the 50th anniversary of the march. The film got a re-release on March 20, 2015 in the honor of the 50th anniversary of the historical march.
Selma had four Golden Globe Award nominations, including Best Motion Picture – Drama, Best Director, and Best Actor, and won for Best Original Song. It was also nominated for Best Picture and won Best Original Song at the 87th Academy Awards.
This page contains text from Wikipedia, the Free Encyclopedia -	https://wn.com/Selma_(film)
Selma is a city in and the county seat of Dallas County, in the Black Belt region of south central Alabama and extending to the west. Located on the banks of the Alabama River, the city has a population of 20,756 as of the 2010 census.
The city is best known for the 1960s Selma Voting Rights Movement and the Selma to Montgomery marches, beginning with "Bloody Sunday" in March 1965 and ending with 25,000 people entering Montgomery at the end of the last march to press for voting rights. This activism generated national attention to social justice and that summer, the Voting Rights Act of 1965 was passed by Congress to authorize federal oversight and enforcement of constitutional rights of all citizens.
It had been a trading center and market town during the years of King Cotton in the South. It was also an important armaments manufacturing and iron shipbuilding center during the Civil War, surrounded by miles of earthen fortifications. The undermanned Confederate forces were defeated during the Battle of Selma.
This page contains text from Wikipedia, the Free Encyclopedia -	https://wn.com/Selma,_Alabama
Selma is a genus of very small ectoparasitic sea snails, marine gastropod mollusks or micromollusks in the Eulimidae family.
Species within the genera Selma include:
Selma succiniola A. Adams, 1863
This page contains text from Wikipedia, the Free Encyclopedia -	https://wn.com/Selma_(gastropod)
Film (Persian:فیلم) is an Iranian film review magazine published for more than 30 years. The head-editor is Massoud Mehrabi.
Film Magazine Website / About
This page contains text from Wikipedia, the Free Encyclopedia -	https://wn.com/Film_(Iranian_magazine)
Film is a 1965 film written by Samuel Beckett, his only screenplay. It was commissioned by Barney Rosset of Grove Press. Writing began on 5 April 1963 with a first draft completed within four days. A second draft was produced by 22 May and a forty-leaf shooting script followed thereafter. It was filmed in New York in July 1964.
Beckett's original choice for the lead – referred to only as "O" – was Charlie Chaplin, but his script never reached him. Both Beckett and the director Alan Schneider were interested in Zero Mostel and Jack MacGowran. However, the former was unavailable and the latter, who accepted at first, became unavailable due to his role in a "Hollywood epic." Beckett then suggested Buster Keaton. Schneider promptly flew to Los Angeles and persuaded Keaton to accept the role along with "a handsome fee for less than three weeks' work."James Karen, who was to have a small part in the film, also encouraged Schneider to contact Keaton.
The filmed version differs from Beckett's original script but with his approval since he was on set all the time, this being his only visit to the United States. The script printed in Collected Shorter Plays of Samuel Beckett (Faber and Faber, 1984) states:
This page contains text from Wikipedia, the Free Encyclopedia -	https://wn.com/Film_(film)
In fluid dynamics, lubrication theory describes the flow of fluids (liquids or gases) in a geometry in which one dimension is significantly smaller than the others. An example is the flow above air hockey tables, where the thickness of the air layer beneath the puck is much smaller than the dimensions of the puck itself.
Internal flows are those where the fluid is fully bounded. Internal flow lubrication theory has many industrial applications because of its role in the design of fluid bearings. Here a key goal of lubrication theory is to determine the pressure distribution in the fluid volume, and hence the forces on the bearing components. The working fluid in this case is often termed a lubricant.
Free film lubrication theory is concerned with the case in which one of the surfaces containing the fluid is a free surface. In that case the position of the free surface is itself unknown, and one goal of lubrication theory is then to determine this. Surface tension may then be significant, or even dominant. Issues of wetting and dewetting then arise. For very thin films (thickness less than one micrometre), additional intermolecular forces, such as Van der Waals forces or disjoining forces, may become significant.
This page contains text from Wikipedia, the Free Encyclopedia -	https://wn.com/Lubrication_theory
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Biofluxe Keto You are definitely able to eat your favorite foods. Depriving yourself of this kind of pleasure is not fun, and quite frankly you probably WILL eat it anyways. As has been mentioned before, the real key is moderation. If you are a steak lover, then perhaps it might not be the best things to eat it every single day, but perhaps once or twice a week. Those who know me personally know that I LOOOOOOOOVE .


text:
16th Musselburgh Festival 1990
by Norrie Williams
B&F April 1990
MUSSELBURGH 1990
Junior Accordion
Under 12 Traditional Accordion Solo
1) Iain Anderson (Gartocharn)
2) Brian Aitchison (Galashiels)
3) Pauline Bradley (Balloch)
12 and Under 16 Traditional Solo
1) Mhairi Coutts (Kirkcaldy)
2) Alex Weir (Ayr)
3) Craig Skinner (Blackridge)
Junior Accordion Solo Pipe Music
2) Lynne Christie (Huntly)
Junior Traditional Duet
1) Kevin Swinton & Ross Lowthian (St Boswells)
2) Kenneth Johnstone (Crawfordjohn) & Scott Masterton (Symington)
Youngest Competitors
Lorna MacAskill (Ormiston)
Brian Aitcheson (Galashiels)
Senior Accordion
Senior Accordion Traditional Solo
1) Fiona Gilfillan (Perth)
2) Bruce Lindsay (Windygates)
3) Scott Leslie (Dunbar)
Senior Accordion Pipe Music Solo
1) Lindsay Weir (Culbokie)
2) Alan Morrison (Forfar)
3) Robert Ross (Kincardine)
Senior Overall Accordion Champion (The Bobby MacLeod Trophy)
Lindsay Weir (Culbokie)
Open Buttonkey
1) Willie McGuire (Dysart)
2) Jimmy Blue (Forgandenny)
1) Lynn Gould (Huntly)
2) Marie Fielding (Edinburgh)
Band (Iain MacPhail Cup)
Scott Leslie (Dunbar)
Band – Rhythm Section (Arthur Easson Memorial Trophy)
Ian Thomson (Stirling)
Own Composition
1) Michael Philip (Cardenden)
3) Peter Joyce (Glasgow)
Under 12 Classical Solo
3) Lorna Mitchell (Ormiston)
1) Lindsay Torrie (Armadale)
2) Kevin Swinton (St Boswells)
3) Andrew Gordon (Bonhill)
1) Elizabeth Flanagan (Galashiels)
2) Pauline Laverie (Castle Douglas)
3) Suzanne Colraine (Clydebank)
Open Classical Solo
1) James Grant (Eyemouth)
2) Bernadette Meechan (Wishaw)
3) Craig Drysdale (Kirkcaldy)
Under 16 Classical Duet
1) no entries
Open Classical Duet
1) Suzanne & Craig Colraine (Clydebank)
2) Fiona Cuthbertson & Pauline Laverie (Dumfries)
Fiddle Sections
Junior Fiddle Solo - MSR
1) Gillian Rise (Monifeith)
2) Paul Mitchell (Bo'ness)
3) Billy Nicoll (Kirriemuir)
Junior Fiddle Solo – Slow Air
1) Fiona Ballantine (Perth)
3) Julie Dey (Wick)
Senior Fiddle Solo – Slow Strathspey, MSR
1) Alistair McCulloch (Ayr)
2) Maureen Turnbull (Dundee)
Senior Fiddle Solo – Slow Air
3) Carol Anderson (Bucksburn)
Senior Fiddle Overall Champion (The Angus Fitchet Trophy)
Alistair McCulloch (Ayr)
Fiddle Group
Bob Edward (Dundee)
During the early morning trip to Musselburgh on Festival day, the feelings of yours truly and spouse tend to be – 'Never again, this has got to be the last time' – but when the car is headed west again along the City Bypass at 1 a.m. on the Sunday morning, things are seen in a different light. Why? – People, that's why. The great camaraderie that exists in every corner of the Brunton Halls complex, the happy reunions and equally happy new introductions, folk with a common interest and enthusiasm from the length and breadth of the U.K. literally.
From Ballynahinch in Northern Ireland, that dedicated button-key competitor Neil Lowrie, from Brindister, 4 miles short of Lerwick in the Shetlands, Eileen Nicolson, organiser of the annual Music Festival there, paying her first visit to Musselburghand from the deep South, Somerset to be precise, John Chapman and Ivor Hyde, up to savour the Festival atmosphere, also for the first time.
John, from Wincanton, is a Barn Dance M.C. and caller and Ivor, who hails from Chard is a button key player, his instrument being a very exclusive 3-row Shand Morino with C/C tuning (Continental type) as opposed to the normal diatonic model. Apparently only one or two of these instruments exist.
It really is heartwarming when competitors and spectators travel such distances to support the event.
A number of years ago when seeking for information on the composer, Carl Volti, I got assistance from a certain Andy Bathgate, who had played clarinet with both the Tim Wright and George MacKintosh bands, which were based at Edinburgh's Cavendish Ballroom.
On the occasion of my enquiries, Andy and I had only chatted over the phone, so it seemed a very special pleasure to meet him in person at this year's Festival.
Now a sprightly 87, he told me how in his late teens he was a keen solo piping competitor, but in the immediate post-First World War period, he developed an interest in modern dance music and took up the clarinet. Pipe tunes can apparently adapt well to this particular instrument. I could have listened for hours, but there was only time for the briefest of tunes. Incidentally, Andy still has his pipes.
Another musical worthy at the Brunton Halls on March 3rd, was Dave Gibson of Newtongrange, who played piano accordion in the William Hannah Band for three years or so in the '40's.
What a 'kick' one gets out of meeting such folk as these, with enthusiasm undiminished after 50, 60 or even more years on the Scottish music scene, and this despite the changes in format and style of some of our modern compositions.
This is what Musselburgh is all about, 9 to 90, with a common interest, all rubbing shoulders under one roof.
Veteran support was not confined to the spectator ranks alone. 74 year old Dundonian and erstwhile broadcasting bandleader, Bob Edward, fielded a fiddle group which won it's class and N.A.A.F.C. Chairman Jimmy Blue, a mere stripling by comparison, but nevertheless, past the big SIX-0, with over 40 years playing experience and two Senior Scottish Champion titles to his name, competed in the Open Button Key section. Jimmy put up a most creditable and truly traditional performance to take second place, only one point behind that magician of the instrument, Billy McGuire.
At last year's Festival, adjudicator Ivor Britton had suggested that efforts should be made to raise the standard within the Button Key class, and his words certainly bore fruit, as a glance at the first three placings will testify. Incidentally, the theatre had an audience of between 150 and 200 for this competition.
Ivor's successor in the hotseat Fraser McGlynn, also no stranger to straight talking, made some interesting and very pertinent comments in his summing up of the Button Key, Pipe Music and Under 12 classes. He does not favour staccato playing, penalizing both button and piano key players for using this style and he stressed the importance of giving the notes their full value.
The adjudicators remarks after each class are not only invaluable to the competitors, but also of great interest to the audience, and help to explain placings which may differ from those decided by the dozens of 'experts' in the 'body of the Kirk'.
With the progressive drop in entries over the last few years – a trend common to the majority of Festivals for whatever reason – Musselburgh is currently leveling out at around the very manageable 220-230 mark, which allows ample time for the adjudicators to express their views.
As already mentioned, opinions can differ radically on the marking, but a very pleasing aspect which was much in evidence this year was the very philosophical attitude of even the youngest competitors to the judges' decisions, whether favourable or not. This is good – very good. Oh, that we could all adopt this attitude.
A drop in numbers in some classes this year, notably the Trio and Band sections was off-set by an increase or consolidation in others. The fiddle classes were all well supported with a good standard overall, likewise the Senior Scottish accordion, and the Open Classical Solo and Duet turnout showed a very encouraging rise in numbers – Cyril Pasby, the adjudicator, waxed positively lyrical about the standard.
Despite the smaller entries, the Trios, Fiddle Groups and Bands played to a full hall, coming away with some tremendous playing and ingenious arrangements.
One possible reason for the drop in these sections is the amount of preparation required and the difficulty of getting so many players free on the crucial date. Wit the group playing at its present standard, gone are the days when one could hope to get away with a scratch outfit.
The very popular All-Winners Concert, which was recorded by the 'Take the Floor' team under producer, Ken Mutch, was a high pressure affair with no less than sixteen items, one of these being the 5 player final for the Senior Scottish. This all had to be squashed into 2 hours, an almost impossible task, but no problem to that doyen of comperes, Alex Little of Dumfries.
Alex, whose contribution to Musselburgh from its early days has been a major one, made it all look ridiculously easy, coping so effectively with both the unaccustomed emergencies and the incompetence of his accomplice!
Highlights from the Concert went out on 'Shepherd's Fancy' less than 48 hours after the event, thanks to a great effort by Ken Mutch and his team, who as always went about their business on Festival day without causing even the sensation of a ripple.
When the lights went up after the finale with the winning band, equally strenuous efforts by the working party under the tireless Joe Greer of Dunfermline, transformed the hall in jig time and the dance got under way. This was a lively affair, attended by 500 folk and with the competent Craig McCallum Band officiating, but the combination of a fairly high velocity with a rather sticky floor posed problems for some of the more mature dancers. 'Slipperine' is on next year's shopping list.
Midnight came all too soon and another Musselburgh was in the bag and without feeling smug, we were happy with it.
But affairs like this don't just happen, a lot of help is required and so willingly given, and I would like to record my warmest thanks to all those who assisted in whatever capacity or in whatever way. To all the adjudicators for a difficult job well done and to the following Radio Stations for their invaluable pre-Festival publicity and after-Festival coverage :-
Radio Clyde – Jim MacLeod
Radio West Sound – John Carmichael
Radio Forth – Robin Brock
Radio Moray – Andy Ross
Radio Highland – Rory MacLeod
Radio Tay – Ian Anderson
B.B.C.Radio Scotland – Art Sutter and Robbie shepherd
To members of the following organizations and Accordion and Fiddle Clubs for their uncomplaining and tireless support as marshals, accompanists, announcers, secretaries, scrutineers, stewards, receptionists, etc :- Aberdeen, Airdrie, Balloch, Beith, Conon Bridge, Dundee, Dunfermline, East Kilbride, Fintry, Forres, Glasgow, Lesmahagow, Lochgelly, Mauchline, Milngavie, Newtongrange, Peebles, Perth, Renfrew and Torthortwald. To all those individuals and Clubs who contributed raffle prizes. And on the subject of the raffle :- London Return for 2 – a special thank you to the company 'Caledonian Express / Stagecoach', who were happy to be associated with the Festival and who donated the raffle star prizes – two return coach tickets to London from any pick-up point on their U.K. network.
Thanks also to John McQueen of Dumfries for the donation of two medals for the youngest competitors (girl and boy) and to Mr Lamb, the caterer from Edinburgh for coping so effectively with the inner man (and woman), over a very long day.
We would also like to thank the caretaker of the local Congregational Church for preparing the hall premises for our use and to the staff of the Brunton Hall for the assistance and cooperation to, and during the Festival itself, and not forgetting all the competitors who came from far and near to support the event. Without them there wouldn't have been one, it's as simple as that. And finally, on an even more personal note, my thanks to N.A.A.F.C. Chairman, Jimmy Blue, and the members of the Executive Committee, who have given backing and support all along the line and to my own Festival Committee for all their hard work throughout the year, Joan Blue, Tom Clark, Eddie MacDonald, Bob and Anne Scott, Willie Wilson, and my secretary, my wife, Sheila.
See you next year.


text:
Yusuf Islam (aka Cat Stevens) and his anti-war and pro-peace protest songs: from hippy peace to Islamic peace
Andrekos Varnava
In the 1970s Yusuf Islam (aka Cat Stevens) inspired a generation with his songs on anti-materialism, finding self and peace in such classic albums as Tea for the Tillerman (1970, US 3x platinum) and Teaser and the Firecat (1971, US 3x platinum). In December 1977 he converted to Islam, gave up popular music and focussed on humanitarian and educational work, until he returned to popular music in 2006. Meanwhile, Muslims became associated in the West as intolerant and violent. Yusuf has emerged in the last decade as a voice for progressive Muslims. This article explores the continuities in his music from his Cat Stevens days to his comeback and how he has reconciled popular music and his Cat Stevens past with his understanding of Islam. The focus is on his anti-war and pro-peace songs. It argues that his earlier songs are similar in their messages of world peace through love and unity, though less dark than his post-2006 songs. Additionally, his recent songs have a new message that the world must be more inclusive to achieve world peace. This is connected to him being a Muslim in the West and his feeling of exclusion, in an age when many in the West portray all Muslims as extremists. Consequently, in his recent music he reflects his experience as a Muslim, in the same way as his earlier music reflected the counter-culture of that period. Thus he has gone back to his earlier self after adopting a progressive understanding of Islam.
Contemporary British History
anti-war songs
internal-exclusion
peace songs
Yusuf Islam (aka Cat Stevens)
10.1080/13619462.2018.1519429Licence: In Copyright
Fingerprint Dive into the research topics of 'Yusuf Islam (aka Cat Stevens) and his anti-war and pro-peace protest songs: from hippy peace to Islamic peace'. Together they form a unique fingerprint.
Protest Songs Arts & Humanities
song Earth & Environmental Sciences
music Earth & Environmental Sciences
Platinum Engineering & Materials Science
Peace Arts & Humanities
Muslims Arts & Humanities
Islam Social Sciences
protest Social Sciences
Varnava, A. (2019). Yusuf Islam (aka Cat Stevens) and his anti-war and pro-peace protest songs: from hippy peace to Islamic peace. Contemporary British History, 33(4), 548-572. https://doi.org/10.1080/13619462.2018.1519429
Varnava, Andrekos. / Yusuf Islam (aka Cat Stevens) and his anti-war and pro-peace protest songs : from hippy peace to Islamic peace. In: Contemporary British History. 2019 ; Vol. 33, No. 4. pp. 548-572.
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title = "Yusuf Islam (aka Cat Stevens) and his anti-war and pro-peace protest songs: from hippy peace to Islamic peace",
abstract = "In the 1970s Yusuf Islam (aka Cat Stevens) inspired a generation with his songs on anti-materialism, finding self and peace in such classic albums as Tea for the Tillerman (1970, US 3x platinum) and Teaser and the Firecat (1971, US 3x platinum). In December 1977 he converted to Islam, gave up popular music and focussed on humanitarian and educational work, until he returned to popular music in 2006. Meanwhile, Muslims became associated in the West as intolerant and violent. Yusuf has emerged in the last decade as a voice for progressive Muslims. This article explores the continuities in his music from his Cat Stevens days to his comeback and how he has reconciled popular music and his Cat Stevens past with his understanding of Islam. The focus is on his anti-war and pro-peace songs. It argues that his earlier songs are similar in their messages of world peace through love and unity, though less dark than his post-2006 songs. Additionally, his recent songs have a new message that the world must be more inclusive to achieve world peace. This is connected to him being a Muslim in the West and his feeling of exclusion, in an age when many in the West portray all Muslims as extremists. Consequently, in his recent music he reflects his experience as a Muslim, in the same way as his earlier music reflected the counter-culture of that period. Thus he has gone back to his earlier self after adopting a progressive understanding of Islam. ",
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Varnava, A 2019, 'Yusuf Islam (aka Cat Stevens) and his anti-war and pro-peace protest songs: from hippy peace to Islamic peace', Contemporary British History, vol. 33, no. 4, pp. 548-572. https://doi.org/10.1080/13619462.2018.1519429
Yusuf Islam (aka Cat Stevens) and his anti-war and pro-peace protest songs : from hippy peace to Islamic peace. / Varnava, Andrekos.
In: Contemporary British History, Vol. 33, No. 4, 2019, p. 548-572.
T1 - Yusuf Islam (aka Cat Stevens) and his anti-war and pro-peace protest songs
T2 - from hippy peace to Islamic peace
AU - Varnava, Andrekos
N2 - In the 1970s Yusuf Islam (aka Cat Stevens) inspired a generation with his songs on anti-materialism, finding self and peace in such classic albums as Tea for the Tillerman (1970, US 3x platinum) and Teaser and the Firecat (1971, US 3x platinum). In December 1977 he converted to Islam, gave up popular music and focussed on humanitarian and educational work, until he returned to popular music in 2006. Meanwhile, Muslims became associated in the West as intolerant and violent. Yusuf has emerged in the last decade as a voice for progressive Muslims. This article explores the continuities in his music from his Cat Stevens days to his comeback and how he has reconciled popular music and his Cat Stevens past with his understanding of Islam. The focus is on his anti-war and pro-peace songs. It argues that his earlier songs are similar in their messages of world peace through love and unity, though less dark than his post-2006 songs. Additionally, his recent songs have a new message that the world must be more inclusive to achieve world peace. This is connected to him being a Muslim in the West and his feeling of exclusion, in an age when many in the West portray all Muslims as extremists. Consequently, in his recent music he reflects his experience as a Muslim, in the same way as his earlier music reflected the counter-culture of that period. Thus he has gone back to his earlier self after adopting a progressive understanding of Islam.
AB - In the 1970s Yusuf Islam (aka Cat Stevens) inspired a generation with his songs on anti-materialism, finding self and peace in such classic albums as Tea for the Tillerman (1970, US 3x platinum) and Teaser and the Firecat (1971, US 3x platinum). In December 1977 he converted to Islam, gave up popular music and focussed on humanitarian and educational work, until he returned to popular music in 2006. Meanwhile, Muslims became associated in the West as intolerant and violent. Yusuf has emerged in the last decade as a voice for progressive Muslims. This article explores the continuities in his music from his Cat Stevens days to his comeback and how he has reconciled popular music and his Cat Stevens past with his understanding of Islam. The focus is on his anti-war and pro-peace songs. It argues that his earlier songs are similar in their messages of world peace through love and unity, though less dark than his post-2006 songs. Additionally, his recent songs have a new message that the world must be more inclusive to achieve world peace. This is connected to him being a Muslim in the West and his feeling of exclusion, in an age when many in the West portray all Muslims as extremists. Consequently, in his recent music he reflects his experience as a Muslim, in the same way as his earlier music reflected the counter-culture of that period. Thus he has gone back to his earlier self after adopting a progressive understanding of Islam.
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Varnava A. Yusuf Islam (aka Cat Stevens) and his anti-war and pro-peace protest songs: from hippy peace to Islamic peace. Contemporary British History. 2019;33(4):548-572. https://doi.org/10.1080/13619462.2018.1519429


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text:
'The Challenge' Cast Members Earn a Lot of Money Just to Show Up: Here's How Much They Make – In Touch Weekly
Nothing in life is free — and that includes appearing on reality TV. While not everyone can win grand cash prizes, that doesn't mean contestants on The Challenge go home empty-handed. However, the longer a contestant appe.......
Make Money From Home December 4, 2021 2 min read
Nothing in life is free — and that includes appearing on reality TV. While not everyone can win grand cash prizes, that doesn't mean contestants on The Challenge go home empty-handed. However, the longer a contestant appears on the competition show, the more likely they'll be paid more for their work and, of course, their ability to bring viewers back week after week. Keep scrolling to see how much money The Challenge cast makes.
Do Only Winners of The Challenge Get Paid?
Every contestant on The Challenge is paid for appearing on the show, even if they don't make it past the first elimination. But that doesn't mean everyone takes home the same paycheck every week.
A source previously confirmed to Us Weekly that newbies on the show make a $1,000 stipend a week. The insider also revealed that returning players, who previously weren't the top winner, can take home between $3,000 and $5,000.
Meanwhile, "elite" players, like fan favorites and winners such as CT Tamburello and the recently eliminated Ashley Mitchell, could make $80,000 just for appearing on the first day — win or lose.
According to contestant Tori Deal, she wouldn't appear on the show if there wasn't a chance of a paycheck.
"Another question that I have been getting a lot, and maybe you have been getting a lot too, is, 'Do we get paid?'" Tori said on MTV's Official Challenge Podcast. "Don't know if we can really answer it, but we'll give you this much. I promise you, we don't go on the show for free. My ass is not going on a 40-foot platform, hanging over a helicopter, eating cabbage for no reason, OK. You're gonna pay me. And the more shows we do, the more we get paid."
Do Contestants on The Challenge Have Other Jobs?
While the "elite" players may not need to supplement their income …….
Source: https://www.intouchweekly.com/posts/the-challenge-cast-salary-how-much-money-contestants-make/
Previous: Marvel fans slam scalpers for trying to make 'quick money' reselling tickets: 'Who in their right mind would pay that much?' – Yahoo Lifestyle
Next: 'HMRC gave me £775,000 by mistake – and it's turned into a nightmare' – The Guardian


The purpose of the Nebraska Synod Stewardship Team is to equip ministry leaders to grow stewardship in their respective contexts. Secondarily, it aims to grow individuals in their personal stewardship practices.
Among the Stewardship Table's activities are providing access to stewardship resources, offering a speakers bureau to congregations, providing stewardship coaching, and piloting stewardship training for first call pastors.
Members: Rev. Chris Kester-Beyer, Scottsbluff; Jeanne Mohr, Chadron; Rev. Kathy Montira, Pender; Robert Hays, Hastings; Rev. Sylvia Karlsson, Bertrand; Rev. Emily Johnson, Louisville.


text:
Q: Tailwind/ CSS image should not be shown outside container I am still struggling to find a solution for my problem.
Only the parts of the icon should be visible which are within the top div container. The parts of the icon that are outside of the top div container should not been shown or should be hidden.
https://play.tailwindcss.com/XyuTtdKbxV
Thx
-Dave

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A: Just create one class inside class
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Please find solution here

A: Since you're tagging Tailwind, you can utilize the overflow class with hidden. I.e. overflow-hidden on the parent container.
Tailwind play link, here.
HTML:

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- Knowledge is Power! In real-life and in Hadron's Forge!.
- Customize items with unique abilities!
mining asteroids, building bases and star ships and defending your assets!
- Play through the Story Mode campaign, then treat yourself to progressively more challenging Survival scenarios!
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Another year, another iPhone controversy that Apple inevitably faces. In 2014, it was Bendgate, where the iPhone might bend if you tried really hard. In 2013, security research firms were able to crack the new Touch ID fingerprint sensor. In 2012, it was the disastrous launch of Apple Maps as the standard mapping service for the iPhone. Perhaps the most prominent controversy was 2010's Antennagate, which was related to how the iPhone 4's antenna was designed. The list goes on.
This year, the latest debate is over Apple's dual sourcing of its A9 processor. One is decidedly better than the other.
When two is not better than oneStarting last year after much speculation, Apple finally tapped Taiwan Semiconductor to pitch in with manufacturing the A8 chip. Longtime frenemy Samsung was still in the mix, supplying an estimated 40% of the processors for the iPhone 6 and 6 Plus.
Shortly after the iPhone 6s and 6s Plus launched, the subsequent teardowns showed that Apple was continuing to dual source the A9 from Samsung and Taiwan Semiconductor. Initially, the expectation was that Samsung would produce the A9 while Taiwan Semiconductor would make the A9X for the forthcoming iPad Pro, but it turns out that the two vendors are sharing the A9 win within iPhones.
Samsung and Taiwan Semiconductor use different but similar manufacturing processes and technologies, and some recent benchmarking tests show that Taiwan Semiconductor variants of the A9 are more power efficient -- leading to great battery life. Considering the importance of battery life to mobile devices, this is potentially an important distinction, and users have no way of knowing which chipmaker supplied the A9 in their unit before purchasing.
As if Apple needed any more reasons to continue shifting its foundry orders elsewhere when possible. It'll be interesting to see who Apple taps for the next A10 and A10X.
Some benchmark tests showed a difference in battery life of upwards of two hours. At the same time, benchmarks put the processor under heavy load to test peak performance, and don't really represent real world usage. Not by a long shot.
According to Apple, the variance in real world usage is a much more reasonable 2% to 3%, which is to say that the average consumer is unlikely to be able to discern any difference. The relevance of which chip a user has will depend on their usage to an extent. Power users that frequently utilize processor-intensive applications like video rendering or 3D games might care a little bit more, but your grandmother taking selfies couldn't care less.
Apple has put a lot of effort growing iOS as a gaming platform, often showcasing 3D games and its Metal technology. This is probably the most common real-world implication of the different power efficiency profiles, since I doubt most professional video editors are using their iPhones to render video, even though they technically can.
In time, this will all blow over since its impact on the average user are negligible. Just like every other year.
The article This Year's iPhone Controversy: Chipgate originally appeared on Fool.com.


text:
Central Africa needs 'concrete measures' to achieve stability, says Ban Ki-moon
UN News - May 18, 2007
Welcoming steps to approve a Central African pact against the illegal trafficking of arms and a code of conduct for the countries' armed forces, Secretary-General Ban today told a United Nations-sponsored security meeting that such concrete measures were needed for the region to achieve lasting peace and stability.
In a message to the latest ministerial meeting of the UN Standing Advisory Committee on Security Questions in Central Africa, Mr. Ban said there have been several signs of important progress in the region over the past year despite the many challenges it faces.
He cited the holding of presidential and legislative elections in the Democratic Republic of the Congo (DRC) and the ceasefire between the Burundian Government and that country's last major rebel group, PALIPEHUTU-FNL, as encouraging examples.
But he added that the delay in implementing the ceasefire in Burundi and the outbreak of deadly violence in the DRC in March indicated the fragility of the situation in those two countries.
"It is therefore very important to put in place the mechanisms and the programmes which will consolidate the progress realised," Mr. Ban said in the message, delivered on his behalf to the meeting by Agnès Marcaillou, Chief of the Regional Disarmament Branch of the UN Office for Disarmament Affairs.
The five-day meeting, which concludes tomorrow, is being held in São Tomé, capital of São Tomé and Príncipe.
Mr. Ban added that the current conflict in Sudan's Darfur region, which is threatening to engulf neighbouring Chad and the Central African Republic (CAR) as well, showed the need for a regional framework for collective security.
"I welcome also your intention to approve as soon as possible the text of a sub-regional instrument in the fight against the illegal trade in small arms, and a code of conduct for the armed and security forces in Central Africa.
"Only concrete measures to reinforce peace and security will restore the necessary stability for sustainable development of Central Africa and give the populations the opportunity to exploit fully their immense human and natural riches."
The Committee, which meets twice a year at the ministerial level, was established by the UN Secretary-General in May 1992 and its membership comprises all 11 countries in the Economic Community of Central African States (ECCAS) - Angola, Burundi, Cameroon, the CAR, Chad, the Republic of Congo, the DRC, Equatorial Guinea, Gabon, Rwanda and São Tomé and Príncipe.