text:
/**
 * Loader for CTM encoded models generated by OpenCTM tools:
 *  http://openctm.sourceforge.net/
 *
 * Uses js-openctm library by Juan Mellado
 *  http://code.google.com/p/js-openctm/
 *
 * @author alteredq / http://alteredqualia.com/
 */

THREE.CTMLoader = function ( showStatus ) {

    THREE.Loader.call( this, showStatus );

};

THREE.CTMLoader.prototype = Object.create( THREE.Loader.prototype );

// Load multiple CTM parts defined in JSON

THREE.CTMLoader.prototype.loadParts = function( url, callback, parameters ) {

    var scope = this;

    var xhr = new XMLHttpRequest();

    var basePath = parameters.basePath ? parameters.basePath : this.extractUrlBase( url );

    xhr.onreadystatechange = function() {

        if ( xhr.readyState === 4 ) {

            if ( xhr.status === 200 || xhr.status === 0 ) {

                var jsonObject = JSON.parse( xhr.responseText );

                var materials = [], geometries = [], counter = 0;

                function callbackFinal( geometry ) {

                    counter += 1;

                    geometries.push( geometry );

                    if ( counter === jsonObject.offsets.length ) {

                        callback( geometries, materials, jsonObject );

                    }

                }

                // init materials

                for ( var i = 0; i < jsonObject.materials.length; i ++ ) {

                    materials[ i ] = THREE.Loader.prototype.createMaterial( jsonObject.materials[ i ], basePath );

                }

                // load joined CTM file

                var partUrl = basePath + jsonObject.data;
                var parametersPart = { useWorker: parameters.useWorker, useBuffers: parameters.useBuffers, offsets: jsonObject.offsets };
                scope.load( partUrl, callbackFinal, parametersPart );

            }

        }

    }

    xhr.open( "GET", url, true );
    xhr.setRequestHeader( "Content-Type", "text/plain" );
    xhr.send( null );

};

// Load CTMLoader compressed models
//  - parameters
//      - url (required)
//      - callback (required)

THREE.CTMLoader.prototype.load = function( url, callback, parameters ) {

    var scope = this;

    var offsets = parameters.offsets !== undefined ? parameters.offsets : [ 0 ];
    var useBuffers = parameters.useBuffers !== undefined ? parameters.useBuffers : true;

    var xhr = new XMLHttpRequest(),
        callbackProgress = null;

    var length = 0;

    xhr.onreadystatechange = function() {

        if ( xhr.readyState === 4 ) {

            if ( xhr.status === 200 || xhr.status === 0 ) {

                var binaryData = new Uint8Array(xhr.response);

                var s = Date.now();

                if ( parameters.useWorker ) {

                    var worker = new Worker( "resources/js/ctm/CTMWorker.js" );

                    worker.onmessage = function( event ) {

                        var ctmFile = event.data;

                        var e1 = Date.now();
                        // console.log( "CTM data parse time [worker]: " + (e1-s) + " ms" );

                        if ( useBuffers ) {

                            scope.createModelBuffers( ctmFile, callback );

                        } else {

                            scope.createModelClassic( ctmFile, callback );

                        }

                        var e = Date.now();
                        console.log( "model load time [worker]: " + (e-e1) + " ms, total: " + (e-s));

                    };

                    worker.postMessage( { "data": binaryData.buffer, "offsets": offsets } );

                } else {

                    for ( var i = 0; i < offsets.length; i ++ ) {

                        var stream = new CTM.Stream( binaryData.buffer );
                        stream.offset = offsets[ i ];

                        var ctmFile = new CTM.File( stream );

                        if ( useBuffers ) {

                            scope.createModelBuffers( ctmFile, callback );

                        } else {

                            scope.createModelClassic( ctmFile, callback );

                        }

                    }

                    //var e = Date.now();
                    //console.log( "CTM data parse time [inline]: " + (e-s) + " ms" );

                }

            } else {

                console.error( "Couldn't load [" + url + "] [" + xhr.status + "]" );

            }

        } else if ( xhr.readyState === 3 ) {

            if ( callbackProgress ) {

                if ( length === 0 ) {

                    length = xhr.getResponseHeader( "Content-Length" );

                }

                callbackProgress( { total: length, loaded: xhr.responseText.length } );

            }

        } else if ( xhr.readyState === 2 ) {

            length = xhr.getResponseHeader( "Content-Length" );

        }

    }

    xhr.open( "GET", url, true );
    xhr.responseType = "arraybuffer";

    xhr.send( null );

};

THREE.CTMLoader.prototype.createModelBuffers = function ( file, callback ) {

    var Model = function ( ) {

        var scope = this;

        var reorderVertices = true;

        THREE.BufferGeometry.call( this );

        var s = Date.now();
        // init GL buffers

        var vertexIndexArray = file.body.indices,
        vertexPositionArray = file.body.vertices,
        vertexNormalArray = file.body.normals;

        var vertexUvArrays = {}, vertexAttrArrays = {}, attr;

        if ( file.body.uvMaps !== undefined ) {
            for (var i = 0; i < file.body.uvMaps.length; i++) {
                attr = file.body.uvMaps[i];
                vertexUvArrays[attr.name] = attr.uv;
            }
        }

        if ( file.body.attrMaps !== undefined ) {
            for (var i = 0; i < file.body.attrMaps.length; i++) {
                attr = file.body.attrMaps[i];
                vertexAttrArrays[attr.name] = attr.attr;
            }
        }

        // reorder vertices
        // (needed for buffer splitting, to keep together face vertices)
        if ( reorderVertices ) {

            function copyVertexInfo(v, vt) {

                var sx = v * 3,
                    sy = v * 3 + 1,
                    sz = v * 3 + 2,
                    sw,

                dx = vt * 3,
                dy = vt * 3 + 1,
                dz = vt * 3 + 2,
                dw;

                newVertices[ dx ] = vertexPositionArray[ sx ];
                newVertices[ dy ] = vertexPositionArray[ sy ];
                newVertices[ dz ] = vertexPositionArray[ sz ];

                if ( vertexNormalArray ) {
                    newNormals[ dx ] = vertexNormalArray[ sx ];
                    newNormals[ dy ] = vertexNormalArray[ sy ];
                    newNormals[ dz ] = vertexNormalArray[ sz ];
                }

                sx = v * 2;
                sy = v * 2 + 1;
                dx = vt * 2;
                dy = vt * 2 + 1;
                for (var i in vertexUvArrays) {
                    newUvs[i][ dx ]     = vertexUvArrays[i][ sx ];
                    newUvs[i][ dy ] = vertexUvArrays[i][ sy ];
                }

                sx = v * 4;
                sy = v * 4 + 1;
                sz = v * 4 + 2;
                sw = v * 4 + 3;
                dx = vt * 4;
                dy = vt * 4 + 1;
                dz = vt * 4 + 2;
                dw = vt * 4 + 3;
                for (var i in vertexAttrArrays) {
                    newAttrs[i][ dx ]     = vertexAttrArrays[i][ sx ];
                    newAttrs[i][ dy ] = vertexAttrArrays[i][ sy ];
                    newAttrs[i][ dz ] = vertexAttrArrays[i][ sz ];
                    newAttrs[i][ dw ] = vertexAttrArrays[i][ sw ];
                }

            }

            function handleVertex( v, iMap ) {

                if ( iMap[ v ] === undefined ) {

                    iMap[ v ] = vertexCounter;
                    reverseIndexMap[vertexCounter] = v;
                    vertexCounter += 1;
                }
                return iMap[ v ];
            }

            var newFaces = new Uint32Array( vertexIndexArray.length );
            var indexMap = {}, reverseIndexMap = {}, vertexCounter = 0;

            var spawledFaceCount = 0,
                spawledFaceLimit = Math.ceil(vertexIndexArray.length/3000);
            var sprawledFaces = new Uint32Array( spawledFaceLimit );  // to store sprawled triangle indices

            for ( var i = 0; i < vertexIndexArray.length; i += 3 ) {

                var a = vertexIndexArray[ i ];
                var b = vertexIndexArray[ i + 1 ];
                var c = vertexIndexArray[ i + 2 ];

                handleVertex( a, indexMap );
                handleVertex( b, indexMap );
                handleVertex( c, indexMap );

                // check for sprawled triangles and put them aside to recreate later
                if ( Math.abs( indexMap[a] - indexMap[b] ) > 65535 ||
                     Math.abs( indexMap[b] - indexMap[c] ) > 65535 ||
                     Math.abs( indexMap[c] - indexMap[a] ) > 65535 ){

                    // expand storage when neccessary
                    if (spawledFaceCount >= spawledFaceLimit) {
                        console.warn("reached sprawled faces limit: " + spawledFaceCount);
                        spawledFaceLimit *= 2;
                        var tArr = new Uint32Array( spawledFaceLimit );
                        tArr.set(sprawledFaces);
                        sprawledFaces = tArr;
                    }

                    sprawledFaces[ spawledFaceCount ] = i;  // starting index in newFaces
                    spawledFaceCount += 1;
                }
                else {

                    newFaces[ i ]     = indexMap[ a ];
                    newFaces[ i + 1 ] = indexMap[ b ];
                    newFaces[ i + 2 ] = indexMap[ c ];
                }
            }
            // console.log("Number of sprawled faces: " + spawledFaceCount + " current limit: " + spawledFaceLimit +
            //  " total: " + vertexIndexArray.length/3 + " vertices: " + vertexCounter);

            // create duplicate vertices and update sprawled faces
            var indexMap2 = {},
                noov = vertexCounter;   // # of original vertices

            for (var isf = 0; isf < spawledFaceCount; isf++ ) {
                var i = sprawledFaces[isf];

                for (var j = 0; j < 3; j++) {
                    var v = vertexIndexArray[ i + j ];
                    newFaces[ i + j] = handleVertex(v, indexMap2);   // new vertex
                }
            }

            // console.log("Created duplicated vertices: " + (vertexCounter - noov));

            // copy xyz, uv, normals and colors into new arrays
            var newVertices = new Float32Array( 3*vertexCounter );
            var newNormals, newUvs = {}, newAttrs = {};

            if ( vertexNormalArray ) newNormals = new Float32Array( 3*vertexCounter );

            for (var i in vertexUvArrays) {
                newUvs[i] = new Float32Array( 2*vertexCounter );
            }
            for (var i in vertexAttrArrays) {
                newAttrs[i] = new Float32Array( 4*vertexCounter );
            }
            for (var iv = 0; iv < vertexCounter; iv++) {
                copyVertexInfo(reverseIndexMap[iv], iv);
            }

            vertexIndexArray = newFaces;
            vertexPositionArray = newVertices;

            if ( vertexNormalArray ) vertexNormalArray = newNormals;
            vertexUvArrays = newUvs;
            vertexAttrArrays = newAttrs;

            scope.indexMap = indexMap;
            scope.reverseIndexMap = reverseIndexMap;
        }

        // compute offsets

        scope.offsets = [];

        var indices = vertexIndexArray;

        var start = 0,
            min = vertexPositionArray.length,
            max = 0,
            minPrev = min;

        for ( var i = 0; i < indices.length; ) {

            for ( var j = 0; j < 3; ++ j ) {

                var idx = indices[ i ++ ];

                if ( idx < min ) min = idx;
                if ( idx > max ) max = idx;

            }

            if ( max - min > 65535 ) {

                i -= 3;

                if ( minPrev > 0 ) {

                    for ( var k = start; k < i; ++ k )
                        indices[ k ] -= minPrev;
                }

                scope.offsets.push( { start: start, count: i - start, index: minPrev } );

                start = i;
                min = vertexPositionArray.length;
                max = 0;

            }

            minPrev = min;

        }

        if ( minPrev > 0 ) {
            for ( var k = start; k < i; ++ k )
                indices[ k ] -= minPrev;
        }
        scope.offsets.push( { start: start, count: i - start, index: minPrev } );

        // var e = Date.now();
        // console.log( "Vertex reordering time: " + (e-s) + " ms" );

        // recast CTM 32-bit indices as 16-bit WebGL indices
        var vertexIndexArray16 = new Uint16Array( vertexIndexArray );

        scope.addAttribute("index", new THREE.BufferAttribute(vertexIndexArray16, 3));
        scope.addAttribute("position", new THREE.BufferAttribute(vertexPositionArray, 3));
        scope.attributes.index.needsUpdate = true;
        scope.attributes.position.needsUpdate = true;
        if (vertexNormalArray !== undefined) {
            scope.addAttribute("normal", new THREE.BufferAttribute(vertexNormalArray, 3));
            scope.attributes.normal.needsUpdate = true;
        }

        for (var name in vertexUvArrays) {
            scope.addAttribute(name, new THREE.BufferAttribute(vertexUvArrays[name], 2));
            scope.attributes[name].needsUpdate = true;
        }

        for (var name in vertexAttrArrays) {
            scope.addAttribute(name, new THREE.BufferAttribute(vertexAttrArrays[name], 4));
            scope.attributes[name].needsUpdate = true;
        }

    }

    Model.prototype = Object.create( THREE.BufferGeometry.prototype );

    var geometry = new Model();

    // compute vertex normals if not present in the CTM model

    if ( geometry.attributes[ "normal" ] === undefined ) {

        geometry.computeVertexNormals();

    }

    callback( geometry );

};

THREE.CTMLoader.prototype.createModelClassic = function ( file, callback ) {

    var Model = function ( ) {

        var scope = this;

        scope.materials = [];

        THREE.Geometry.call( this );

        var normals = [],
            uvs = [],
            colors = [];

        init_vertices( file.body.vertices );

        if ( file.body.normals !== undefined )
            init_normals( file.body.normals );

        if ( file.body.uvMaps !== undefined && file.body.uvMaps.length > 0 )
            init_uvs( file.body.uvMaps[ 0 ].uv );

        if ( file.body.attrMaps !== undefined && file.body.attrMaps.length > 0 && file.body.attrMaps[ 0 ].name === "Color" )
            init_colors( file.body.attrMaps[ 0 ].attr );

        var hasNormals = normals.length > 0 ? true : false,
            hasUvs = uvs.length > 0 ? true : false,
            hasColors = colors.length > 0 ? true : false;

        init_faces( file.body.indices );

        this.computeCentroids();
        this.computeFaceNormals();
        //this.computeTangents();

        function init_vertices( buffer ) {

            var x, y, z, i, il = buffer.length;

            for( i = 0; i < il; i += 3 ) {

                x = buffer[ i ];
                y = buffer[ i + 1 ];
                z = buffer[ i + 2 ];

                vertex( scope, x, y, z );

            }

        };

        function init_normals( buffer ) {

            var x, y, z, i, il = buffer.length;

            for( i = 0; i < il; i += 3 ) {

                x = buffer[ i ];
                y = buffer[ i + 1 ];
                z = buffer[ i + 2 ];

                normals.push( x, y, z );

            }

        };

        function init_colors( buffer ) {

            var r, g, b, a, i, il = buffer.length;

            for( i = 0; i < il; i += 4 ) {

                r = buffer[ i ];
                g = buffer[ i + 1 ];
                b = buffer[ i + 2 ];
                a = buffer[ i + 3 ];

                var color = new THREE.Color();
                color.setRGB( r, g, b );

                colors.push( color );

            }

        };

        function init_uvs( buffer ) {

            var u, v, i, il = buffer.length;

            for( i = 0; i < il; i += 2 ) {

                u = buffer[ i ];
                v = buffer[ i + 1 ];

                uvs.push( u, v );

            }

        };

        function init_faces( buffer ) {

            var a, b, c,
                u1, v1, u2, v2, u3, v3,
                m, face,
                i, il = buffer.length;

            m = 0; // all faces defaulting to material 0

            for( i = 0; i < il; i += 3 ) {

                a = buffer[ i ];
                b = buffer[ i + 1 ];
                c = buffer[ i + 2 ];

                if ( hasNormals ){

                    face = f3n( scope, normals, a, b, c, m, a, b, c );

                } else {

                    face = f3( scope, a, b, c, m );

                }

                if ( hasColors ) {

                    face.vertexColors[ 0 ] = colors[ a ];
                    face.vertexColors[ 1 ] = colors[ b ];
                    face.vertexColors[ 2 ] = colors[ c ];

                }

                if ( hasUvs ) {

                    u1 = uvs[ a * 2 ];
                    v1 = uvs[ a * 2 + 1 ];

                    u2 = uvs[ b * 2 ];
                    v2 = uvs[ b * 2 + 1 ];

                    u3 = uvs[ c * 2 ];
                    v3 = uvs[ c * 2 + 1 ];

                    uv3( scope.faceVertexUvs[ 0 ], u1, v1, u2, v2, u3, v3 );

                }

            }

        }

    };

    function vertex ( scope, x, y, z ) {

        scope.vertices.push( new THREE.Vector3( x, y, z ) );

    };

    function f3 ( scope, a, b, c, mi ) {

        var face = new THREE.Face3( a, b, c, null, null, mi );

        scope.faces.push( face );

        return face;

    };

    function f3n ( scope, normals, a, b, c, mi, nai, nbi, nci ) {

        var nax = normals[ nai * 3     ],
            nay = normals[ nai * 3 + 1 ],
            naz = normals[ nai * 3 + 2 ],

            nbx = normals[ nbi * 3     ],
            nby = normals[ nbi * 3 + 1 ],
            nbz = normals[ nbi * 3 + 2 ],

            ncx = normals[ nci * 3     ],
            ncy = normals[ nci * 3 + 1 ],
            ncz = normals[ nci * 3 + 2 ];

        var na = new THREE.Vector3( nax, nay, naz ),
            nb = new THREE.Vector3( nbx, nby, nbz ),
            nc = new THREE.Vector3( ncx, ncy, ncz );

        var face = new THREE.Face3( a, b, c, [ na, nb, nc ], null, mi );

        scope.faces.push( face );

        return face;

    };

    function uv3 ( where, u1, v1, u2, v2, u3, v3 ) {

        var uv = [];
        uv.push( new THREE.Vector2( u1, v1 ) );
        uv.push( new THREE.Vector2( u2, v2 ) );
        uv.push( new THREE.Vector2( u3, v3 ) );
        where.push( uv );

    };

    Model.prototype = Object.create( THREE.Geometry.prototype );

    callback( new Model() );

};

redpajama_set_name: RedPajamaGithub


text:
package com.totoro.xkf.androidclient.base;

import android.content.Context;
import android.support.v7.app.ActionBar;
import android.support.v7.app.AppCompatActivity;
import android.os.Bundle;
import android.support.v7.widget.Toolbar;
import android.view.WindowManager;

import com.totoro.xkf.androidclient.R;

public abstract class BaseActivity<T extends BasePresenter> extends AppCompatActivity {
    protected T mPresenter;
    protected boolean isLife = true;

    @Override
    protected void onCreate(Bundle savedInstanceState) {
        super.onCreate(savedInstanceState);
        setContentView(getLayout());
        initPresenter();
        initViews();
    }

    protected abstract int getLayout();

    protected abstract void initPresenter();

    protected void setActionBar(Toolbar toolbar, int imageId, String title) {
        setSupportActionBar(toolbar);
        ActionBar actionBar = getSupportActionBar();
        actionBar.setTitle(title);
        if (imageId != -1) {
            actionBar.setDisplayHomeAsUpEnabled(true);
            if (imageId != 0) {
                actionBar.setHomeAsUpIndicator(imageId);
            }
        }
    }

    protected abstract void initViews();

    protected void hideStateBar() {
        getWindow().setFlags(WindowManager.LayoutParams.FLAG_FULLSCREEN,
                WindowManager.LayoutParams.FLAG_FULLSCREEN);
    }

    protected boolean isLife() {
        return isLife;
    }

    @Override
    protected void onDestroy() {
        super.onDestroy();
        isLife = false;
    }
}


On our search for eco-friendly apps, we came across one handy app for android phones that is designed to help make your smartphone 'more green'. We are all guilty of leaving our devices plugged in well after they are charged which expels more energy than is needed which is why an app like this exists. Eco charger 's simple aim is to help waste less energy by sending you a reminder when your phone is fully charged (plus it also lets you know when your phone has an overheated battery etc).
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your phone to charge it, it emits an audio signal to let you know that you should unplug the phone. Simple, right? One tip is as soon as you download the app, go into the settings to modify how it alerts you as the audio signal can be quite annoying if you can't unplug the phone quickly. You can set it to vibrate or even to beep just once, which is a happy medium. It's a handy app, easy to use and does help save energy – which is something we could all work on more often.
A simple app with a noble aim, to lessen energy waste. Brainless to use and Free!
Audio notifications are defaulted to keep repeating until you unplug the phone or change the settings (can get annoying).


GAYBOMBAY conducted the book reading of I AM DIVINE, SO ARE YOU – edited by Jerry Johnson, in collaboration with Devdutt Pattanaik.
The evening was as exciting as informative! Watch for yourself in the videos below!


Which vaccines for traveling to Africa?
Updating certain vaccines may also be required, especially for diphtheria-tetanus-polio (DTP) and measles.
Clothing that covers the body, etc.
Medical treatment catered to each traveler is also recommended.
Note that the Ebola virus is also present in some African countries, as well as cases of avian flu and Coronavirus (North Africa); contact with animals is to be avoided.


text:
Q: Cross phone mobile video recommend Ok guys, I'm looking for a solution to play a video once a user scans a qr code. everything works, even the player but i'm looking for a way so that the video either starts right when you get to the screen or atleast gives you a good visual and tells you to hit play. I'm running into so many issues with compatibility on different phones. It looks good on iphone but not android etc... any ideas on solutions? would HTML5 work on all the major players? jwplayer just doesnt seem to cut it.

A: html5 should work on wp7, ios, android, hp/palm and blackbery OS 7.1 (that's brand new so not a lot of users yet)
so try that yes :)

redpajama_set_name: RedPajamaStackExchange


The Council on Academic Affairs approved the new branches of what used to be the school of Family and Consumer Sciences at its meeting Thursday.
Last year, Provost Jay Gatrell revealed a college reorganization plan, which included many program and name shifts around campus, including the dismantling of what was the school of Family and Consumer Sciences.
Richard Wilkinson, CAA vice chair/recorder and the program coordinator for hospitality and tourism, said this change created a need for stability for the newly separated sections of what used to make up the school.
Presented at CAA were three new degrees, built on the framework of options and concentrations from the school.
One of the three proposals is the human services program administration major, which used to be the Family and Consumer Sciences family service option.
Along with the major proposal came a minor and five new and revised courses that go along with the major.


text:
/*
 * To change this template, choose Tools | Templates
 * and open the template in the editor.
 */
package br.org.open.jfx.validation.validators;

import br.org.open.jfx.validation.TypeValidator;
import br.org.open.jfx.validation.ValidationState;
import static br.org.open.jfx.validation.ValidationState.ERROR;
import static br.org.open.jfx.validation.ValidationState.VALID;
import br.org.open.jfx.validation.Validator;
import java.util.regex.Matcher;
import java.util.regex.Pattern;
import javafx.beans.value.ChangeListener;
import javafx.beans.value.ObservableValue;
import javafx.scene.control.Label;
import javafx.scene.control.TextInputControl;

/**
 *
 * Verifica se o conteúdo informado corresponde a um formato de e-mail válido.
 *
 * @author Éberson
 */
public class EmailValidation {

    private static final String EMAIL_PATTERN = "^[_A-Za-z0-9-\\+]+(\\.[_A-Za-z0-9-]+)*@"
            + "[A-Za-z0-9-]+(\\.[A-Za-z0-9]+)*(\\.[A-Za-z]{2,})$";

    public static Validator<String> build(TextInputControl input, final Label message){
        Validator<String> validator = new Validator<>(input.textProperty(), new TypeValidator<String>() {
            @Override
            public ValidationState validate(String typeToValidate) {
                Pattern pattern = Pattern.compile(EMAIL_PATTERN);
                Matcher matcher = pattern.matcher(typeToValidate);

                if(matcher.matches()){
                    return ValidationState.VALID;
                }

                return ValidationState.ERROR;
            }
        }, ValidationState.VALID);

        validator.addStyleTarget(input);

        if(message == null){
            return validator;
        }

        validator.addStyleTargets(message);
        validator.stateProperty().addListener(new ChangeListener<ValidationState>() {
            @Override
            public void changed(ObservableValue<? extends ValidationState> observable, ValidationState oldValue, ValidationState newValue) {
                switch(newValue){
                    case ERROR: message.setText("E-mail inválido!");
                    case VALID: message.setText("");
                }
            }
        });

        return validator;
    }

}


Accordion, Acoustic Guitar, Background Singer, Bagpipes, Banjo, Bass Guitar, Cello, Clarinet, DJ, Dobro, Drums, Electronic Music, Fiddle, Flute, Harmonica, Harp, Keyboard, Lead Guitar, Mandolin, Other, Other Percussion, Piano, Rhythm Guitar, Steel guitar, Trombone, Trumpet, Ukulele, Upright bass, Violin, Vocalist, Vocalist - Alto, Vocalist - Baritone, Vocalist - Bass, Vocalist - Soprano, Vocalist - Tenor.
My main instrument is saxophone. I like playing a variety of music, including classic rock, smooth jazz, blues, old standards. I have filled in on bass and guitar.
Selmer Mk6 tenor Sax. Several guitars, a small PA, effects processor misc.


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Custom Duty
Custom Duty- Assessment under Project Import Regulations, 1986 – Requirement of cash security in lieu of bank guarantee
| Custom Duty - Circulars- Notifications/Circulars
Circular No. 12/2011-Customs,
Subject: Assessment under Project Import Regulations, 1986 – Requirement of cash security in lieu of bank guarantee.
I am directed to refer Board's Circular No. 89 dated 9-8-1995 issued from F.No. 528/ 73/ 92 – (TU), in partial modification of letter F.No. 521/192/90-Cus.(TU) dated 9/1/1992, advising Customs Houses / Commissionerates to take cash security equivalent to 2% of the CIF value of goods sought to be imported, subject to a maximum of Rs. 50 lakhs, at the time of registration of Project Contract under Project Import Regulations, 1986. It was further advised that in cases, where cash security of 2% of the value of the contract exceeds Rs. 50 lakhs, importers may be given an option to furnish cash security of Rs. 50 lakhs and balance amount by a bank guarantee, backed by an undertaking to renew it till the finalisation of the contract. Government Departments and Public Sector Undertakings, however, continued to be exempted from furnishing the above cash security in terms of the practice in vogue, Vide Board's letter F.No. 521/192/90-Cus.(TU) dated 14.3.1993.
2. The issue regarding furnishing of a cash security equal to 2% of the CIF value of the goods sought to be imported under Project Import has further been examined by the Board. In view of the reduction in import duty and the inordinate delay associated with finalisation of the said project imports, it has been decided to do away with the practice of taking cash security. Henceforth, subject to a maximum of Rs. 1 Crore, only a bank guarantee, equivalent to 2% of the CIF value of goods sought to be imported, would be taken at the time of registration of the Project Contract under Project Import Regulations, 1986. The said bank guarantee shall be backed by an undertaking that it would be renewed from time to time. However, the said bank guarantee need not be renewed on completion of a period of six months from the date of submission of necessary documents, from the jurisdictional Central Excise authority or any other specified authority, as proof of utilisation / installation of goods for the finalisation of the contract. The project import of Government Departments and Public Sector Undertakings would continue to be covered by Board's letter F.No. 521/92/90- Cus.(TU) dated 14.3.1993.
F.No. 334/03/2011 (TRU)
Tags: Custom Duty Notifications
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Broken Verses
By: Kamila Shamsie
Buy eBook Now
Fourteen years ago, famous Pakistani activist Samina Akram disappeared. Two years earlier, her lover, Pakistan's greatest poet, was beaten to death by government thugs. In present-day Karachi, her daughter Aasmaani has just discovered a letter in the couple's private code—a letter that could only have been written recently.
Aasmaani is thirty, single, drifting from job to job. Always left behind whenever Samina followed the Poet into exile, she had assumed that her mother's disappearance was simply another abandonment. Then, while working at Pakistan's first independent TV station, Aasmaani runs into an old friend of Samina's who gives her the first letter, then many more. Where could the letters have come from? And will they lead her to her mother?
Merging the personal with the political, Broken Verses is at once a sharp, thrilling journey through modern-day Pakistan, a carefully coded mystery, and an intimate mother-daughter story that asks how we forgive a mother who leaves.
KAMILA SHAMSIE's first novel, In the City by the Sea, was shortlisted for the John Llewelyn Rhys/Mail on Sunday Prize. After her second novel, Salt and Saffron, she was named one of the Orange Futures "21 Writers for the 21st century". A recipient of the Award for Literary Achievement in Pakistan, she lives in Karachi and London, where she writes frequently for The Guardian.
PRAISE FOR BROKEN VERSES
"[Shamsie] packs her story with the playful evidence of her high-flying intelligence." —San Francisco Chronicle
"This 30-year-old has been described as a young Anita Desai, and her third book, about childhood, love, life and high society in Karachi during the turbulent 1990s, is worth all the prepublication fuss." —Harper's Bazaar
"A fresh literary look at modern-day Pakistan…[a] beautiful meditation on love, forgiveness, and letting go." —Entertainment Weekly
"Richly woven…There is a succulent pleasure to the narrative that draws you happily to its end." —The Guardian
"This is also a story about parents and children, about Aasmaani trying to make peace with her strange childhood. It is a story about love, as Aasmaani and Shehnaz's son find themselves drawn to each other. And there's politics, to boot. The political backdrop-criticism of America, anxiety about the role of fundamentalists in Pakistani government-remains just that, a backdrop; it never overshadows, but rather somehow expands, the story…A thoroughly captivating tale." —Kirkus Reviews (starred)
"Intriguing, shimmeringly intelligent…Shamsie's crowning triumph." —Publishers Weekly
on all things Fiction & Literature?


FRISCO, Texas (May 9, 2017) — The 2017 US Youth Soccer Region II (Midwest) Championships, to be played June 23-28, will provide an estimated economic impact of $17 million to the Sioux Falls, S.D., area.
The top 224 Boys and Girls US Youth Soccer teams in the 13-and-Under through 19/20-and-Under age groups from Region II will compete at Yankton Trail Park during the event. With a direct estimated economic impact of $10 million and an indirect estimated economic impact of $7 million, the event is expected to have a significant influence on the community.
Local restaurants, hotels, retail stores and others will benefit from the more than 4,900 players, along with the team coaches, tournament officials, college coaches and numerous spectators attending the six-day tournament. Visitors to the Sioux Falls, S.D., area will book an estimated 14,000 room nights at surrounding hotels.
"Sioux Falls is a familiar host for the Region II Championships as the area also held the event in 1999, 2005 and 2009," said Region II Championships Chair Jonathan Meersman. "We look forward to another amazing event in Sioux Falls at the beautiful Yankton Trail Park."
For all working media who would like to attend the Region II Championships in Sioux Falls, individuals must complete a Media Credential Application.
The event consists of US Youth Soccer State Champions from 14 state associations, including Illinois, Indiana, Iowa, Kansas, Kentucky, Michigan, Minnesota, Missouri, Nebraska, North Dakota, Ohio South, Ohio North, South Dakota and Wisconsin. US Youth Soccer Midwest Regional League Premier Division champions and select wild cards will also join the State Champions at the event.
The Region II Championships is part of the US Youth Soccer National Championship Series, the country's oldest and most prestigious national youth soccer tournament. Following individual state championship tournaments, the Regional Championships are the second leg of the National Championship Series. Regional winners of the 13-and-Under through 19/20-and-Under brackets earn a berth to the 2017 US Youth Soccer National Championships in Frisco, Texas.


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Forbidden Love: Zack Greinke
The Last Decent Astro. Bless.
Forbidden Love is a Cubs DNA series where our staff waxes poetic about a player on a team other than the Cubs. Maybe even one you think they should hate. In this installment, Staci give some much deserved love to the only good Houston Astro left, pitcher Zack Greinke.
Poor Zack Greinke. Let me preface this entire thing by saying that I'd probably not write one of these on any other recent member of the Houston Astros baseball team because, let's face it--a lot of them are terrible. Cheaters, domestic abusers, racists, high and mighty jerkbags... they're sort of a melange of awful all in one big trash can of suck. Greinke is maybe the only palatable Astro left, which is no reflection on his awesomeness, but rather a sad tale of how far the Astros franchise has fallen. Especially since he didn't choose to be there.
Yeah, we wish you could take it back too.
No, our poor, awkward little Zack has no choice but to be an Astro at this point after being traded to Houston mid-2019. In hindsight, he might regret not putting them on his 15-team no-trade list--maybe going to the Reds or A's would've been more palatable. Not the Yankees. That might have ended him.
Honestly, this is why people still hate the Yankees. SMH.
See, despite being an ace and having a career most pitchers would give their non-pitching arm for, Greinke has a notorious difficulty dealing with, um, people. I don't think he actually hates people, he's just got some anxiety and what not. A lot of people can relate, I think. He doesn't really love dealing with the media. This is an actual, diagnosed disorder he has, not just some personality problem. He's not a jerkbag on purpose, but rather a bit awkward because he has actual, real things he struggles with. What's great is that it leads to moments with the media where Zack just gets right to the point, like this:
I mean, starting Game 7 of the World Series at home, no big deal. Gonna be a big game. Yep. And had A.J. Hinch left him in the game, perhaps the Astros would have a second World Series trophy sitting in Houston right now. Maybe even one they mostly earned!
Alex Cora, is that you?
Unfortunately, once the Astros' cheating (OH! I don't have to put "alleged" anymore! Yay!) was all verified and buttoned up, I worried for our little anxiety-riddled ace having to face the media over a bunch of shady stuff he didn't actually do. Because as much as you'd want them to leave Zack alone, you just know someone wouldn't. Fortunately, he took matters into his own hands.
That's right: Zack decided he just wouldn't show up until he absolutely had to. Bless. I would've done the same thing, probably. Maybe. OK, probably not, but this is Zack Greinke... he does stuff like this! Call it a coping mechanism or just his natural ability to be awesome, but he did what we all would've wanted to do if we were him in that exact situation.
When he did finally show up, he came with an increased velocity and a great explanation:
It's really a shame he's having to waste all that fabulous talent on that shady Astros team, hearing boos from opposing fans over things he had no involvement in. Maybe this shortened 2020 season will help him out and then he can just focus on getting through 2021 and into the last few years of his career.
Bless.
Forbidden Love: Chris Archer
Forbidden Love: Tucker Barnhart
Forbidden Love: Brandon Kintzler


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Song Manh
What Type of Music is Popular in Vietnam?
There are many types of music from Asian cultures that can be listened to on the radio, on the internet, and even at clubs across America. As one would expect, the music styles in Vietnam are very different from those from the West. Many bands that have made it big in the music industry have come from countries that are much closer in proximity to Vietnam such as Japan, Malaysia, Taiwan, China, and South Korea. A look through the internet will prove this fact. Some of the most famous and popular music groups and artists have come from these Asian nations.
When comparing music styles in Vietnam, there are two main categories that are common. These are traditional music and contemporary music. The first type refers to the old-style, rural and traditional music that many Vietnamese people listen to and enjoy. The contemporary music genres, which include jazz, pop, hip hop, and a few other more unique styles, are much more popular in Vietnam.
Another interesting thing to note about Vietnam is their love for dance. They perform dances and songs all the time during weddings, celebrations, and even during other events. In fact, some of the most famous and popular songs in history have been about dancing. It is said that some of the earliest music ever recorded existed thanks to the dances performed by the Vietnamese. Many of these dances are still performed today in Vietnamese culture and are enjoyed by everyone from children to older adults.
Another interesting aspect of Vietnamese music is the large number of genres that they have. This is due to their very diverse population, which means that different people from different regions of Vietnam will put their own twist on the same old songs or create entirely new ones. Some of the different types of music include:
Classical Music This type of music falls into the category of "old-style" when it comes to music. This is because many Vietnamese people grew up listening to it as kids. There are also many traditional classical pieces that are being borrowed and translated from Western music and made into Vietnamese forms. This includes the work of such composers as Thanh Nien, Phu Quai, and Hau Duc.
New Age Music Many of the newer generation of Vietnamese Americans have embraced this style of music. It is known for its use of synthesizers and other new-age instruments that are common among contemporary music. A much younger generation of Vietnamese Americans has gravitated toward this kind of music as it gives them a sense of pride and freedom. It can be hard to decipher exactly what is new about these types of music and how it has changed over the years but the main factor seems to be that it captures the spirit of the past while sounding new today.
Crossover Music This type of music can be hard to pin down exactly what it is. It seems to exist in two different areas as it is often blended with traditional forms of music. The first being traditional Cham; which uses the Chinese traditional chimes and strings in its creation. The second is modern-day Khmer, which borrows heavily from the Khmer culture but also features more instruments and sounds from western and Indian music. The most famous example of this is the music of Surgeon.
This was a quick overview of some of the more popular types of music that are enjoyed in Vietnam. These are by no means the only types or styles of music that are popular. Any changes or influences that are brought about by foreign cultures will quickly change the popular culture all over the country. As with anything else, if a style of music is popular in America it will most likely appeal to many of the young people in Vietnam as well. The trick is to keep an open mind and listen to all kinds of music.
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© Song Manh 2023


Christmas and New Years is now over and I have a little more time to share some of my writings. However, my posts will not be as timely as before because I continue to babysit my grandchild several days a week.
The stories I share with you now will not be in chronological sequence. I am currently in the process of working on a second book and am writing about moments I remember. Some of these moments will be related to Maggie's and my married life while others will recall times in my childhood.
The following short story focuses on an average day in Maggie's and my life with our four children. We had moved to the first home we ever owned after living in one we rented for a little over a year. At the time of our move, Mike and Jenny were already born; our other two children were born after we settled in our new home.
Mallday is a common occurrence during the blistering heat of summer in the far south suburbs of Chicago. That's where we bought our first home — in a newly developing subdivision in Country Club Hills. How proud we are to say "Country Club Hills" whenever friends or family ask where we live. However, we don't feel it's necessary to admit that the closest edifice to a "country club" is an old dilapidated barn inhabited by squirrels, sparrows and spiders and the nearest "hills" are the mounds of dirt piled high by bull dozers still clearing the land for new construction.
Our subdivision is an island in the middle of a vast expanse of vacant land, adjacent to abandoned farms. It's six square blocks dotted with flooded foundations and peppered with an occasional house.The sign at the entrance proudly proclaims"The Place To Be." Well, it may not be the posh community heralded by its name, but it's far enough outside the Chicago city limits that we can afford to buy a home here.
There are about fifteen other homes on our block and every family seems interchangeable — each has one to three children, none beyond the age of six; each has a stay-at-home mom and a dad that works 9 to 5; and all struggle, living paycheck to paycheck. So Mallday is an event eagerly anticipated on summer weekends when the scalding sun keeps us prisoners in our homes, reluctant to use the air conditioner that doubles our electric bill.
At least two Saturdays each summer month, Maggie and I and our four children pile into our sun baked station wagon and drive the twenty suffocating minutes to our oasis — Lincoln Mall. There we wander in cool comfort through the spacious corridors. We rarely buy anything. It's more of an inexpensive adventure where, for the price of an ice cream cone or soft pretzel, our kids are happy and Maggie and I can travel on our "if only" dream trip, furnishing our new home in our heads.
We're a curious sight in the mall; a young couple with four children: Erica and Paul in umbrella strollers, one pushed by Maggie the other by me; Jennifer, age five, grasping the belt on Maggie's coat; and six year old Mike, hanging on to the left side of my jacket, his left arm flailing in front. People part as we approach and heads turn when we pass.
JC Penney is a frequent destination. It's bright, has the best air conditioning, and is inexpensive. Maggie and I have been through this ritual often enough to know that four young children meandering through a department store is trouble. So, we go our separate ways. Maggie takes the girls wherever little girls and their mother go when shopping at JC Penney and I head off with the boys to the sporting goods section, hoping to indulge myself for a few minutes.
Keeping Paul entertained isn't a problem since he's usually asleep ten minutes after we leave the car. But Mike, well, he's a different story. Mike is blind. Because he wants to feel everything he can't see, preventing him from touching what he shouldn't touch is always a challenge. I can only say "Don't touch that" so often before he shrinks into himself and guilt thunders through me.
Once in sporting goods, I go straight to a circular rack of golf shirts. Knowing Mike likes to feel textures and shapes, I begin thumbing through the S, M, L and XL shirts, selecting a dozen of varying styles and textures as well as those with raised logos and different shaped buttons. I move them to a spot on the rack convenient to Mike, then turn his shoulders and place his right hand on a shirt.
Mike seems intrigued and slides his hands among the shirts, feeling how one is ribbed in the middle, another elasticized at the waist and sleeves, some are cotton and others are silky. He explores the buttons—some round and plastic, others square and wooden —but seems especially fascinated by the logos, tracing each with his fingers. I'm certain this will fascinate him for a while and begin looking at other shirts on the rack. Within a few minutes, I notice that Mike's face has lost its sense of discovery.
I scan the area for something that will hold his attention for at least ten minutes. That's all I want for myself —ten minutes. I can't let him near the golf club display for fear he'll knock them over. And I'm pretty sure his interest in touching spikes on golf shoes will wane quickly. Then I notice something just beyond the shoe display.
"Mike! Hang on a minute. I have a surprise for you." He stands quietly while I rearrange the shirts and ensure that Paul is still asleep in the stroller.
Since I can't recall if he's ever felt a barrel, I take his right hand and slowly extend it, placing it on the rim. As Mike touches it, I walk him around the circumference so he can visualize its size. He uses both hands to slide across the rim and then, in almost rhythmic swirls, brushes his hands across the outside of the barrel, top to bottom.
I guide his right hand over the edge of the barrel that rises to the middle of his chest and slowly lower it to the golf balls. Mike resists slightly, but as he touches the balls a quizzical look crosses his face. He tilts his head to the left and smiles in my direction.
Mike doesn't need further explanation and spends the next twenty seconds simply feeling the dimples.
I don't know why I tell him this. I know he can't feel colors, but I'm not sure what remains in his memory from before he went blind three years ago. Maybe he can recall. Anyway, I just think he should know.
This happens several times as I help Mike identify the white, orange, yellow and pink balls. He carefully caresses each one now, bringing it to his ears and then to his upper lip, as if these senses are helping him differentiate the colors he cannot see. As he's doing this, I pick up two balls and tap them together next to his left ear.
Mike is captivated. He takes both balls from my hands and begins clicking them together, first near his left ear, then his right. He doesn't say anything, just continues the clicking. When he tires of the two he has in his hands, he throws them back in the barrel and picks up two more. Realizing that he likes the sound of the balls bouncing in the barrel, he begins alternating his new discovery — clicking and throwing, clicking and throwing.
I glance in Mike's direction and see him struggling with a leaning barrel — his scrawny legs buckling beneath him and his arms bent into his tiny body. "Dad!!" he yells again as the barrel begins to clearly win this battle. I quickly run to Mike and pull him to my side as the barrel crashes to the tile floor. Golf balls are bouncing everywhere — a stippled stream of white, yellow pink and orange, rushing a hundred feet down the aisles, crashing in every direction —banging off walls, display counters, and store clerks.
I stand there, frozen, holding Mike close. Clerks and customers are dodging the cascade of balls while glaring through me.
"HE'S BLIND! HE'S BLIND!! HE WAS ONLY PLAYING!" I shout, as I frantically begin chasing and gathering the balls. Mike stands there frightened and confused. The clerks and customers turn their heads to him. Their faces morph from anger to concern as they rush to my aid, scurrying after the bouncing balls.
They have pity in their eyes now — pity for the little blind boy and perhaps some for the poor old dad with a baby still sleeping in the stroller.


I have drawn and painted most of my life, attending acrylic and watercolour classes in Yorkshire, where I exhibited and sold some of my paintings.
I lived in South Africa for 25 years but most of this time was taken bringing up my children and I didn't find much time to paint. On my move to Kerikeri I started attending classes with Mike Nettman in a search to progress and challenge my painting style. I am attracted to the mix of abstract and realism and recently my paintings have demonstrated this. My subjects vary but recently my inspiration has been animals from South Africa.


Whatever your political affiliation, if you are a US citizen, go out today and vote. And while you are there, hopefully they have some popcorn. I'm not sure if today is Election Day in Canada, but we have our favorite Canadians, the people from Monster Squad Minute, back to discuss the second part of The Canadian Snacktime Trilogy: POPCORN!
These tickets are already on sale through each individual theatre.


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James Nesbitt: It has 'left an indelible mark on me' playing The Secret's killer
Robert Hiley Mon, April 25 9:57am
In ITV's The Secret (premieres on Friday, April 29), James Nesbitt plays real-life Northern Irish dentist Colin Howell, who in 1991 murdered his wife and his lover's husband. Howell's terrible crimes were not discovered until almost 20 years later when he finally confessed to murder.
Here, James tells TV Times why the four-part series and his chilling new role will never leave him…
How did you go about trying to get into Howell's mind?
"It has left a pretty indelible mark on me playing this character. We spoke to people that knew Colin and he clearly had a significant level of charm and a forceful personality and was supremely controlling.
"Religion meant a lot to him, but his self-belief meant that he felt that rules didn't apply to him. I know a lot of Baptists and they are Christian, charitable people who will go out of their way to help you. So it was interesting to explore the dark side of that well-respected community and see how wickedness and evil can flourish and grow under the cover of religion."
How do you see Howell's relationship with his mistress, Hazel Buchanan ?
"As daft as it sounds, it is a love story. They had a very combustible chemistry, but the relationship was so poisoned. We show how this love affair escalated into murder because there is no doubt that their chemistry fuelled what happened afterwards.
"The illicit nature of their affair made it very passionate and we felt they were like teenagers with that abandonment of sensibility and they were taken over by the fantasy of it all."
This hilarious legend from The Office is guest starring in Casualty!
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Would you like to have met Colin Howell as part of your research for the role?
"It was the right decision not to and better that I could build my own picture. But I have played real characters before, such as [former MP] Ivan Cooper in Bloody Sunday, and it was enormously helpful to me when I met him, so I wouldn't have minded sitting down with Colin for a while and asking him why he confessed. I'm very intrigued."
You grew up in Coleraine, where Colin Howell lived and committed the crimes, didn't you?
"It was great to go home and film something there that isn't about the Troubles, but it was also interesting because there's a frenzy in Northern Ireland about this drama because everyone has an opinion on Colin, whether they knew him or not.
"My sister used to go to his wife's coffee mornings, two of my best friends were patients of Colin's. Then there is one scene where Colin has dumped the bodies in his father-in-law's garage and runs along the beach to retrieve his bicycle, which he then rides home. He actually ran past the house that my parents had on the beach. They would have been there sleeping, it is quite chilling."
Watch The Secret trailer:
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Coronation Street fans SICKENED as this legendary character makes a shocking decision


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Home → Articles → North Carolina → Puzzling it Out
Puzzling it Out
Joan Davis on the art of pre-eminent law
Published in 2020 North Carolina Super Lawyers magazine By Amy White on January 22, 2020
Joan Davis just can't help herself.
Every time she passes a building, shopping center or intersection that was the focus of one of her eminent domain cases, she geeks out a little bit.
"I'm like, 'Look! I know why there's a U-turn here instead of a stoplight; or I know why that parking lot is there instead of here,'" she says. "My kids are like, 'Mom. Please.'"
Davis, who's been with Howard, Stallings, From, Atkins, Angell & Davis since 1989, found eminent domain as an associate and never changed course.
"You have the stores we all shop in, the roads we all drive on—it's incredibly fulfilling work," she says. "It's something you're involved in that people not only use every day, but also that your client benefits from because you were able to work with them and with the taking authority and property developer to preserve the use of the property for the long term."
As a young lawyer in 1991, she impressed the folks at Eckerd, a national pharmacy chain reborn as Rite Aid stores after a 2007 acquisition. It was a lease dispute, and Davis, in her first-ever case, pitched in toward a successful outcome in a then-emerging area of law. "[Eckerd] was a very big client for us," Davis says. "Most of their properties were lease-hold properties. And at the time, most of the lawyers who did this type of work came from the AG's office, on the condemning side; or they were lawyers representing property owners and developers who own the fee hold. Not many lawyers were representing tenants."
So when Eckerd had a condemnation case and was having trouble finding a lawyer who understood how to handle it, they tapped Davis again. And again.
"At one point, I was covering almost everything from New York to Georgia on the East Coast," she says. "When they were bought by Rite Aid, I started covering five Southern states on lease hold condemnations; when Walgreen's bought most of those stores in the Southeast, I made that transition as well." She now serves as regional condemnation counsel for McDonald's, Walgreens and Harris Teeter, among others.
"I was fortunate to find a space quite quickly in which the need was greater than the supply of lawyers doing the work," Davis says. "It was a natural fit, too. I always had a great understanding of spatial relationships, which is integral to the work."
Technically, she practices eminent domain. But if you ask her, it's pre-eminent domain. "One of the hallmarks of my practice is that we are not reactionary. It's pre-eminent domain because before you even file a condemnation action, the DOT in every state is holding public meetings to talk about design, trying to work with property owners and tenants to find out how the road is going to impact their business," she says. "If you can convince the people building a road that there's a way to do it that meets their traffic obligations and doesn't negatively impact a business, everyone wins."
Davis' work is not a solo act. She works closely with an engineer at Kimley-Horn, a planning, design and engineering firm. "I really enjoy the intellectual process," she says. "I can look at a set of plans and tell you a lot about them. I'm good at puzzles, and a lot of what we're doing is putting together a puzzle. But the artistic credit I give to the engineers: I present the engineers the problem, they create the solutions."
Which can be pretty complex.
"The roadways themselves are extremely complicated. When you drive through a series of roundabouts, you can appreciate the engineering it took to develop that," Davis says. "Within each of my retail sites, there's an integrated system of parking and retention ponds—even where dumpsters and delivery trucks go. When you change the road, you change every piece to the puzzle."
Yep, There's an App for That
Davis often partners with Kimley-Horn engineer Steve Blakley, who created proprietary software for her clients that provides real-time access to site, legal, engineering and appraisal information in a single user-friendly system. The app, SMARTS, is a game-changer. "It's real-time information for the client that is invaluable," she says. It also advises potential buyers as to what's coming. "We've had clients who just bought a piece of land to develop and later found out there was a project that was going to impact them," she says. "This app is truly a one-stop shop."
B. Joan Davis
Top Rated Eminent Domain Lawyer
Howard, Stallings, From, Atkins, Angell & Davis, P.A.
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Home Blog What's the Best Shampoo for Your Hair Type?
Even when you are sporting hair extensions, it's vital to keep your natural hair healthy!
One of the best ways to take care of your lovely locks is to use the best shampoo for your hair type. We know— it can be hard to know which one to choose with all of the different brands out there. So here are some of our tested and true selections of the best shampoos for each hair type!
Frizzy hair can happen as a result of being exposed to humid air frequently. Hair also tends to be more frizzy when you aren't using conditioner, or the right kind. The best shampoo for frizzy hair are those that are labeled along the lines of "anti-frizz" because these generally incorporate protective oils such as coconut oil or shea butter. Look to see if the shampoo has natural ingredients because these protein-rich components will help to moisturize your hair and prevent frizz.
Dry hair is very common for many women due to damage from coloring or bleaching, stress, environment or various other factors.
However, you can also use specific shampoos on your natural hair to help keep it moisturized. Look for shampoos with labels endorsing hydrating ingredients. These will include elements such as aloe vera, green tea, or olive oil.
Greasy hair can be a daily struggle for some girls. Oily hair can be caused by excessive touching, genetics, brushing, conditioning, or simply just genetics! If you have oily hair, we recommend using shampoos that are clarifying, which will clean off the excessive oils from your natural hair. This wig shampoo by Beauti-Mark is great for synthetic extensions and wigs. They even have shampoo for human hair wigs and extensions and you can use is on your bio hair too!
If you are a seasoned hair-dyer then you know the risks that coloring your hair can present. Dyeing you hair, whether it be blonde, brown, or purple, can cause you to have dandruff, breakage, dead ends, and a multitude of other problems. If you are trying to correct damage that coloring your hair has caused, we always suggest wearing a wig in between dye jobs. This will essentially give your hair a "break" so that it has time to heal from all the chemicals it has been exposed to.
Human hair extensions are great if you want to add a boost to your natural hair. But again, be sure to also use human hair shampoo such as Hydra Shampoo by Pure Care on your extensions to ensure maximum protection.
Using the right shampoo can make all the difference! Give these brands a try and remember that hair care is individual to everyone, so trial and error is normal! Don't be discouraged if one product doesn't work for you. There are plenty more in the world to choose from. And once you find the right one, you and your hair will stay glowing!


WeWork has raised $4.4 billion in funding from SoftBank Group and SoftBank Vision Fund, the office-sharing startup announced Thursday.
SoftBank is investing $3 billion in WeWork itself, and putting another $1.4 billion into three new WeWork subsidiaries -- WeWork China, WeWork Japan, and WeWork Pacific.
As part of the investments, SoftBank is naming two directors to WeWork's board: Ronald D. Fisher, a director of SoftBank Group; and Mark Schwartz, an external director of SoftBank Group.
WeWork leases out large blocks of space in commercial buildings and then subleases them to smaller companies, frequently tech startups. The real estate firm was valued at $21 billion in July, making it the fifth highest-valued startup in the world.


After my first ever marathon in North Pole, which was run on water over the Arctic Ocean, I signed up for Cairns Marathon in Australia following my 9-day Kokoda Track backpacking. Technically, this would be my first marathon on land and on an actual continent. Even though the back to back trekking and running would be physically challenging, it will take me one step closer to my Marathon Grand Slam (one marathon on all seven continents plus the North Pole) goal. Australia, here I come!


Each item in the hand carved wood collection makes a beautiful accent or statement piece in a home. The designs are hand carved and finished using paints and techniques that give each piece its own unique quality and aged appearance.
Each piece is an individual work of art combining the talents of expert wood carvers and Eric's own hand finishing.
Santos, originally Spanish for saints, are usually smaller statues that were used for processionals or in private home chapels. These wooden figures have simple frameworks since they were covered and dressed in elaborate costumes and wigs for each feast day or religious holiday. The Madonna was the most revered, and many variations of her image created.
For the Eric Cortina Santos Collection, the process begins in the Philippines where the European art of carving Santos and religious objects has been passed down for many generations. Artists start with Eric's original design and hand carve each figure piece out of mahogany. A different expert carver then creates the head and hands using softer wood. Every piece is unique and has its own personality which is displayed in the carving of face and glass eyes.
After each piece is carved, it is entirely covered in gesso which provides a surface for the various layers of paint used in Eric's finishing process. They are then packed, crated and shipped to the Cortina studio.
The painting process begins with Eric applying 2 to 3 individual base colors and then stains to the body that gives the piece an aged appearance. The heads and hands are then given special attention with additional layers of paint and stain to give a lifelike look and the appearance of aged enamel paint. The Santos is then sanded and hand distressed making each piece unique.


text:
using AppCampus.Domain.Models.Entities;
using AppCampus.Infrastructure.Models;
using System;
using System.Collections.Generic;
using System.Linq;
using System.Text;
using System.Threading.Tasks;
using Drumble.DomainDrivenArchitecture.Infrastructure.EntityFramework;

namespace AppCampus.Infrastructure.Repositories.DeviceLogAggregate
{
    public class DeviceLogMapper : IEntityMapper<DeviceLog, DeviceLogTable>
    {
        public DeviceLogTable CreateFrom(DeviceLog domainEntity)
        {
            return new DeviceLogTable()
            {
                Id = domainEntity.Id,
                FileName = domainEntity.FileName
            };
        }

        public DeviceLog CreateFrom(DeviceLogTable dataEntity)
        {
            return DeviceLog.Hydrate(dataEntity.Id, dataEntity.FileName);
        }
    }
}


Sometimes I think I have a shopping problem. I know usual stereotype is to pin this on the female persuasion, but I have my weak moments too. Part of my problem is that I can't turn myself away from the word "Sale". Its a wonder I managed to survive the current economic crisis up till now.
One thing that has taken a bulk of my buck is my current hobby with manga and anime. As far as manga is concerned, I am following about 6 series right now and considering picking up a seventh one in tow. The problem is that these series goes on and on and on. Now I'm not talking about something with the proportions of, oh say, Bleach, but Negima! takes up a fair amount of volumes as well, and according to the author is "roughly" half way through the series. Sheesh! To help curb my spending habits I wait for the manga's publisher to go on sale at RightStuf. Spending $6.60 on a book instead of $10 saves you quite a bit of money in the long run. The same can be said for the anime portion too, but thankfully I am not currently into any series that goes on and on and on *Eyes Bleach, yet again*.
But sales do take a punch out of my wallet too (In hindsight, that analogy makes absolutely NO sense whatsoever). One sale I look for is ones at Toys R Us or Best Buy that are something to the effect of "Buy 2 get the 3rd free" or "Buy one get one half off" on video games. I will scour the websites and find obscure titles that I didn't realize I wanted until I saw them, all for the sake of getting that one game I sort of wanted for free or half off. Almost every time I will fall for these sales. I'm one of those that are born every minute. Steam is also a notorious money sucker, especially with its "weekend deal" slashed prices. I have given into that way too much. I bought the original Assassin's Creed for $4 even though I have a sucky, slow Internet connection and a not powerful/functional enough PC to play it on. I bought it last spring and I still have yet to finish downloading it, but its there waiting on me to download it, by golly!
Black Friday is one of the most infamous sales of sales. I haven't gone to an actual "Black Friday" sale in years, but I have gone to several sales online, especially on Cyber Monday. This past year I think I did pretty good considering that I only bought about $40 of dvds that are still shrink wrapped and collecting dust on my floor. I have seen some of them, but some I'm waiting for the right time to watch them. I bought two seasons of "I Love Lucy" during that sale, and I finally watched both of them in their entirety. My DVD watchign habits are scattered, but I could watch an entire season of Lucy in two days assuming I don't have work. That's sort of the problem. I do that and then I get burned out, leaving for subsequent seasons to suffer the same fate.
Sometimes it doesn't have to be a sale for me to buy something. Retailers in my area have lately been selling 2 packs of TV seasons for the low price of one season, or about $20. I got two seasons of the Cosby Show for that much, and I'm sure they are interesting when I get around to watching them.
One pattern you might have been noticing is that most of my spending goes towards DVDs or games, but I also am the same way about other items as well. I stock up on potato chips when my local store sells them for $2 or less. I buy 2 to 3 bags when I leave work, and will usually have them eaten before I go to work the next time. Considering that I've been working more lately I have been spending more on chips and pants than anything. I am the same way with my lunches at work. I go to either the cheap or on sale items. I never go to a fast food place or the deli because I don't want to spend a ton of money.
Rarely do I buy something on a whim. 90% of my purchases are planned or repeats. The few times I do buy on a whim I usually end up regretting, like "Comic Party". I also have very questionable tastes when I do randomly buy things. Just a couple weeks ago I bought the first "Saved by the Bell" DVD set. I used to hate that show. I bought it recently. Yes, my tastes can be questionable when its set to random.
Anyways, I feel that this is a fine place to stop this odd entry on my financial woes. I have several other problems and quirks to discuss in the future, but I realized that I have a game that I still need to play, so time to cut this entry short and take care of that.


It's been a while since I've heard a new recording of good old raw Gnawa trance music, so this is a welcome disc. The songs mark a path toward one particular aspect of the Gnawa ritual ceremony meant to cleanse participants of undesirable spirits and indwell them with good ones: the bahja, a Sufi spirit corresponding to the color red.
Leading the way is singer and musician Nour Eddine Fatty, a Moroccan of Berber descent who plays the three-stringed guembri bass lute (also called a sintir) in addition to several other stringed and percussion instruments.
The circular rhythms of qarqabas (a type of metal castanets) swirl at the core of these songs, which set call-and-response vocal patterns in praise of God and the seven spirits of the cleansing process.
Percussion and lute join in alone or together depending on the phase of the ritual or the sounds needed for spiritual appeasement, and there is indeed something very spiritual about hearing this sort of music in its purest form.
Bands like Nass Marrakech and such solo artists as Hassan Hakmoun have created some splendid Gnawa fusion music, and the unplugged, soulful sparseness heard on this CD (the title of which really ought to be more specific as to its content) is an excellent reminder of just how hypnotic and soothing the deeper roots of it can be.
You don't need to believe in spirit possession; simple faith in the healing power of music (or perhaps just a good ear for it) is reason enough to obtain the album. Highly recommended.


Your poetry is megga - Lucia Cox, Manchester Book Festival, June, 2011.
Not A One Man Show was great entertainment - you're welcome here anytime - Tiger lounge (Not Part of Festival).
Gordon's the Godfather of rhyme - John G Hall.
So funny & original - Embryo.


Later topic: Homemade exposure unit.
After nearly a year of acquiring equipment with the aim of being able to go from digital file to finished printed product, I am finally setting up everything for my new press here in the French Alps. Yesterday I plumbed in, cleaned and tested my Agfa Rapiline Film Processor, everything seems to be working, it is heating and circulating the chemical baths as well as replenishing them, the dryer and roller drive system is all functioning. The only issue I could find was the replenishment sensor is broken as it causes a warning light on the top panel indicating the chemicals are low.
Obviously I can still run film with this issue but it's an old machine and I was wondering if anyone knows of a source of parts for these old Agfa processors as I'd like to stock a range of spares for the future.
Further to my question above, can anyone tell me if the replenishment liquid should be diluted or neat dev?
I can't find anything about that in the manual.
Film dev comes ready to use , i dont know of any that were diluted or required that,I will check for certain tomorrow and put up a re edit if i am found to be wrong . The top up will have ratios marked if it were diluteable and this would appear on the label .
Be careful of the parts for levels as they need to be resistant to the corrosive nature of some developers , i have seen plate processors that the teeth on gears were eaten away by the chemistry and manufacturer had to develop a special material to make replacements , the gears were a form of nylon or polymer and it seemed that the material was not resistant for some reason and they didnt put any warning out , just sat and waited for the call for replacement parts !
My chemistry replenishment is mixed with water. Check with the company for the mixing specs or it should say on the bottle. Also check the level of your liquid in the tanks if it is to low it will trip that sensor.
It is dependant on the processor evidently so as advised check the label or ask your supplier , some types are concentrate some are not . I am told to tell you to be aware of ambient temperature as developers "die " if used too cold .
Thank you both for the replies, I'm using Agfa chemicals and neither the bottle nor the tech specs PDF on their website stipulate if the replenishing liquid is neat or diluted.
I opted for diluted and ran my first tests yesterday, the results have good density and seem sharp and clear so I am pretty happy. I have a densitometer and will be able to measure this once I've understood how to use it.
1. How expensive it is to run the processor even once, £18 for the 13 litres of Developer alone.
2. I will have a lot of chemical waste to dispose of safely on a regular basis. I'm speaking to my local council here in France about that.
3. How fantastic it is going to be to have in house imagesetting and processing, to be able to make plates from a digital file within a couple of hours.
4. I still have a lot to learn about working with Postscript files.
My first test with a 'New Home' card illustration designed by my wife.
The film has cleared perfectly, and has very solid blacks.
What are the signs of over developing the film? Is that possible when making photopolymer plates with it?
The waste from the dev is usually processed to reclaim the silver , I would assume this is still the case with yours , a good test is to get some clean copper wire screwit up into a ball and drop it into the tank it will aquire a coating of a gritty grey substance ,if it does you should find there will be someone reclaiming it !!
You could try to locate J&G Environmental in the uk they may have a european arm or be able to point you in the right direction , they are the company that always seem to be dealing with most of the firms i have contact with ,although these days they are more commonly removing waste ink tins and printing plates . They take the plates against the cost of the chemistry and dirty metal and you get the excess if any paid to you i think .
With poor film results you will see it at washout of plates (offset ) so i would expect you to have similar effects on polymers ,over etched flm would be less dense so your solids would be poor , film that was under developed would give you poor line work with possibly a furry effect where it should be clean and crisp as it were , youcould look to putting a wedge on your waste area and then you only have to check the state of the graduated scale on both the film and the polymer . Information reference a Stoeffer (?) wedge should be available from your film supplier it is a strip of small squares made in solid block then a 95% dot then 90 % going down to basically 2% .
There is a chap on this site Gerald Lange , an E mail to him would get you as much info as you could ever need , he may have a publication available on this as i get the impression he has more experience of this system than i ever will . I think he is listed as Bieler press or something along those lines.
but to do this you will have to learn to keep notes of temperature ,your mix ratios and the time that ratio took to give a good result .
As dev ages through use the time it takes to burn out the film lengthens due to the weakening of the mixture , the mix weakens in as much as that the more you process then the more foreign matter is introduced (the image background that you have burned from the film ) this is something you will get to grips with as you go along , some processors had variable speed so you lengthened the dip by slowing the drive through the tank , some did not , those that were fixed produce slowly worsening results , you probably wont run hundreds of metres of film per day so this may never be noticeable but if you keep notes of how much film you have run and such you will eventually be able to keep aware of how live your dev tank is before you start to lose film to poor burn out .
Right, any relief photopolymer is negative-working. Positive film will only get you a reverse. Where the light passes through the film to expose the material, that is your hardened relief, your printing surface.
Don't confuse letterpress with screen-printing, where the non-image is hardened by exposure; or with lithography, where plates may be negative- or positive-working.
Yes, I should have reversed these, this was my first run with the imagesetter and film processor combination and I was really just seeing if I could produce and process decent film.
Until yesterday I had no idea if the imagesetter was working correctly and if I had set the RIP up correctly, it's a weird science with few people to go to for advice. I've read a pile of manuals just get that film out yesterday.
What Rip are you using? From the Film it looks to be positiv, right reading, if you would make a polymerplate from that Film it would be suiteable for use in an etching press, albeit the printed image would be wrong reading.
Letterpress, Negative Film, wrong reading.
Re: intital mix vs replenisher.
If I recall correctly we used concentrated chemicals. Both developer and fixer were mixed the same. The initial Baths were mixed at 3:1 and replenisher was mixed at 1:1. If your using premixed chemicals you would not need to do anything. This was not typical in the day because you paid for shipping by weight so why pay to have chemical mixed with water shipped when you could add the water yourself.
The packaging the chemicals came in (boxes) should have the instructions on it.
The best I ever had was electric mixers and powdered chemical!
Which densitometer do you have? Modern rapid access film should read 5.0. I used to run my a hair light, 4.8 to help keep the higher screens open. Once you have your density you will need to linierize the film. ie getting all the screens where they belong.
Since your processor is newly setup you will need to check your density twice a day for the next few weeks to make sure it s staying consistent. As the main baths age and as new replenisher is pumped in he strength of the chemicals will shift. After about two weeks it tends to stabilize, depending on how much it actually runs of course.
Depending on local laws even if you reclaim silver out of the waste chemicals, and you can actually do it from developer, fixer and the rinse water, you may still have to collect it all and have a recycling service process it.
Also never mix fixer and developer and never ever use bleach to clean anything.


text:
New posts monthly.
As recruiters and counselors to attorneys at all levels in an ever-changing legal industry, we strive to provide objective and straightforward advice so that attorneys feel well-equipped to make strategic decisions regarding their career advancement.
Oct 16 It's Q4. I'm A Junior Associate.
Answers by Victoria S. Shin, Esq.
victoria.shin@sjlsearch.com
website bio
Q: What should I be focusing on?
A: It's a common misconception that your first years at a firm should be spent focusing primarily on getting work, and getting it done. That's simply not the case. This is especially so in Q4: your managers are making assessments of your performance, and you should be doing the same of theirs, as well as your own. Focus your analysis on four primary areas: the quality of your training (are you busy? do you have a full plate of challenging work?); the degree of responsibility you're being delegated (do you have the opportunity to take on more substantive tasks?); your level of satisfaction (are you doing the kind of work you're passionate about, e.g., public v. private M&A; lender vs. borrower representation in finance deals; white collar vs. general commercial litigation?); and whether or not you're getting the mentorship you need to grow (do the partners and senior associates invest in you and take the time to provide guidance?).
Q: Why do these considerations matter?
A: There is no such thing as "too early" when it comes to asking yourself the critical questions that will have an enduring impact on your career, especially in light of new market realities and the impact those realities are having on partnership structures and in-house opportunities. Simply put: the competition for coveted positions in the legal industry is fierce, and your platform and experience will matter. If you keep your head down and let these years pass without taking control of the building blocks of your practice, you'll eventually wake up to find that you're a dissatisfied mid-level without a road to a partner or counsel title and, perhaps even worse to some associates, that things like that awesome in-house job legal role are out of your reach. If you want to excel, and if you want to have as many future options as possible, you can't afford not to think about your career development early and often.
Q: Can I move?
A: If your platform and experience aren't checking all the boxes, you need to determine whether or not the problem lies with your level of proactivity, or with the limitations of your platform. If it's the latter, there may be lateral opportunities in the market, but it's important to be able to articulate a solid story as to why it would make sense to move. That is one of the most important questions that a potential new firm will ask: why do you want to move? Your answer could make or break your chances at even landing an initial interview.
Q: Should I move?
A: There are pros and cons to making an early lateral move. Certain considerations are more compelling for an early move: a more prestigious platform; better training; a more specialized practice as opposed to, for example, general corporate; a broader finance practice as opposed to, for example, exclusively lender-side acquisition financing. It's important to be informed about what other firms' practices look like, including their culture. Contrary to popular belief, firms and practice groups are not identical, and it is worthwhile to learn about the differences to determine which firms could deliver the experience and training that will bring you greater professional and personal satisfaction. Talk to a professional who makes it a priority to learn about you and your career goals, and based on that knowledge can provide informative color on the key relevant differences among firms. Once you lateral to another firm, you'll want to stay there for at least 2-3 years, so it is a significant decision – and worth taking the time to be thorough and inquisitive.
Nov 16 SJL Talk: Ep. 1
Sep 16 So I'm A Finance Attorney...
One Grand Central Place, 60 E. 42nd Street, Suite 1201,New York, NY 10165
© 2016 SJL Attorney Search, LLC. All rights reserved.


text:
PPolitics
More dirt dredged up against Greene
The St. Petersburg Times has launched yet another rocket at billionaire and Democratic U.S. Senate candidate Jeff Greene: At a project called La Mirage, Greene
The St. Petersburg Times has launched yet another rocket at billionaire and Democratic U.S. Senate candidate Jeff Greene:
At a project called La Mirage, Greene converted 1950s-era military housing from apartments to 300 condos. In the summer of 2006, just as he was starting to make his bets against the sub-prime housing market, records show that Greene's company unloaded the units, some for as much as $165,000. The buyers turned out to be people who never intended to own the properties or pay back the loans.
Within 18 months, all of the La Mirage buyers defaulted on their loans and every condo was in foreclosure. Low-income tenants, still paying rent and unaware their apartments had been sold, found themselves on the street. Lenders recouped about $25,000 per unit when the properties went up for auction. Banks — and ultimately U.S. taxpayers who bailed out the banks — were left holding the bag on nearly $34 million of worthless paper.
Now James Delbert McConville, Greene's counterpart in the transaction, is in jail facing criminal charges of conspiracy and money laundering stemming in part from the La Mirage transaction. The assistant U.S. attorney says the FBI is still trying to put a dollar figure on McConville's alleged fraud, and is ramping up its investigation of the La Mirage deal.
Greene is unlikely to be legally implicated in the criminal charges facing McConville, but the article argues that his actions — signing blank deeds and sending them to his escrow company — helped enable the fraud to take place. In either case, his response to the charges is unlikely to endear him to voters:
"I'm always signing blank deeds. That's how an escrow company works," Greene said. "If he (McConville) put the deeds in other people's names, that's his business. All I care about is that I get my money."
Welfare drug testing law makes list of top five efforts to 'kill the American dream'
Amendment 4 gets first endorsement from a Florida newspaper
Sink's business background goes largely unchallenged
The Florida Times-Union yesterday published a story about how the state Republican Governors Association prepared attack ads questioning…
Alva conservationist: Water mismanagement made Caloosahatchee algal bloom worse
The recent algal bloom in the Caloosahatchee River has seemingly gone away, but citizens and conservationists alike continue to draw attention to water mismanagement they say made the problem worse.


Staunton, January 22 – In what may set the stage for new protests like those which have roiled Ingushetia since the end of September 2018, Chechnya's Ramzan Kadyrov is seeking to acquire for his republic territory now within Daghestan, something Daghestan head Vladimir Vasiliyev appears prepared to grant.
In early December, the two men announced that they would be discussing the border between the two republics given the significant Chechen population now with Daghestan that would like to be part of Chechnya. At that time, Vasiliyev promised to take their desires into consideration (kavkaz-uzel.eu/articles/330614/).
Now, Vasiliyev has gone further. In a January 20 interview with NNT disseminated on YouTube, the Makhachkala leader said that he was quite prepared to listen to those in border areas who wanted to change the borders. Asked whether he would allow a referendum on this, he didn't exclude that possibility (youtube.com/watch?v=SUPbQboMS20).
Daghestanis have expressed their outrage that Vasiliyev did not reject such a possibility out of hand, especially since during the fall Kadyrov showed his sympathies for Daghestan's nearly 100,000 Chechens and their desires to unite their territory in the northwest of that republic with Chechnya.
Daghestanis are especially outraged, it appears, because of what happened with Ingushetia where Ingushetia's Yunus-Bek Yevkurov agreed to hand over large portions of his republic to Kadyrov without any open discussion or referendum, an action that has led to protests there since that time.
There are important reasons, however, why Daghestan will not be able to reach an accord like the one Kadyrov did with Yevkurov and why a massive negative reaction would be less likely than it was in Ingushetia.
On the one hand, as the Russian Constitutional Court held, the executive agreement between Yevkurov and Kadyrov was legitimate only because no border had been demarcated between the two republics up to that point. Russian law only requires a referendum if federal subjects want to change borders rather than establish one.
The border between Chechnya and Daghestan, in contrast to the one between Chechnya and Daghestan, has long been demarcated and accepted. If Moscow were to back Kadyrov on this move as it did in his move against Ingushetia, it would have to ignore its own settled law. That seems unlikely.
And on the other, while the Chechens are a large community in Daghestan, they form only just over three percent of the population and occupy only a slightly greater percentage of its territory. Consequently, allowing them to leave with their land would not threaten Daghestan because the loss of Chechens and their land would not significantly reduce the republic, a sharp contrast to the situation in Ingushetia, the smallest, non-urban federal subject in Russia.
At the same time, given the complex ethnic politics of multi-national Daghestan, there may even be some in that republic who would be glad to see the Chechens and their land leave, something that could give them a relative advantage. At the same time, however, it could be a political problem for Vasiliyev, the ultimate outsider as far as Daghestanis are concerned.


text:
Australian athletes advised to prepare for 2021 Tokyo Olympics
The Australian Olympic Committee (AOC) has advised Australian athletes to prepare for the Tokyo Olympic Games to be postponed until "the northern summer of 2021".
In a statement published Monday, the AOC said that the continuing threat from COVID-19 means that athlete health is now the main priority and that "an Australian Team could not be assembled in the changing circumstances at home and abroad."
AOC chief executive Matt Carroll said Monday's announcement would help provide some certainty for athletes who have been in limbo in recent months.
"We have athletes based overseas, training at central locations around Australia as teams, and managing their own programs," Carroll said. "With travel and other restrictions this becomes an untenable situation.
"The IOC had adopted the key principles of putting athlete health first and ensuring it acted in their best interests and the interests of sport. This decision reflects those principles. We are now in a position where we can plan with greater certainty."
Today's AOC announcement follows news from the International Olympic Committee (IOC) on Sunday that it is considering "the scenario of postponement" with regard to the Tokyo Olympics. It is the first such admission from an organisation that, until now, has remained committed to the Games starting on July 24, even as various sports and countries have called for the Games to be postponed.
"It's clear the Games can't be held in July," said Australia's Chef de Mission for the Tokyo Games. "Our athletes have been magnificent in their positive attitude to training and preparing, but the stress and uncertainty has been extremely challenging for them. They have also shouldered the burden of concern for their peers around the world. That has been a consistent message to me.
"While there will still be much to work out as a result of this change, the timing will allow athletes from around the world to properly prepare with the hope the coronavirus crisis will be under control.
"We are aware that for many such a postponement will present a range of new issues. But when the world does come together at the Tokyo Olympic Games they can be a true celebration of sport and humanity."
The IOC believes it will have reached a decision on the fate of the Toyko Olympics within four weeks. It has said that an outright cancellation is not on the cards.
#2020 Tokyo Olympics
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IBM, known also by the nickname Big Blue, is once again ranked number one in patents.
Last year, IBM held its lead for the 20th straight year with over 6,000 patents in areas such as social networking, cloud, and cognitive computing. This year the company remains on top, reporting an astounding 6,809 patents.
Though the company holds a wide variety of technological patents, its focus for the New Year seems to be cloud computing and cognitive technology. More specifically, IBM has announced that it will form a separate division to continue work on the computer Watson.
The IBM team first began developing Watson back in 2006, focusing on three key characteristics that would make it a success: natural language processing capabilities, hypothesis generation and evidence-based learning. This year, the company expects to invest nearly $1 billion into its cognitive technology in the hopes of getting it ready for production-level deployment.
The company contributes its patent success to more than 8,000 inventors in 47 U.S. states and 41 countries. Despite remaining on top when it comes to innovation, IBM has struggled with revenue for the past six quarters. To compensate, it's invested over $6 billion a year on global research and development efforts since 2010.
As IBM continues to grow, Samsung is also holding strong at its number two spot on the list with over 4,600 patents. Canon follows at number three with more than 3,800 patents. Also making the list, Qualcomm with a 62% increase in patents awarded from 2012 to 2013.
To view the entire list of the top 50 U.S. patent assignees, click here.


my bank didn't have any money in it. I am screwed on my rent now because of this and it is a big problem.
you should always contact the people who are charging you for there services. I have done this countless times not telling the people who are charging me for a Direct Debit and been charged by the bank for my mistakes.
For future reference you should always contact both not just your bank to cancel your payments otherwise you will be still charge.
THE ONUS IS ON YOU AND YOU ALONE!!
I have done so paypal will not be sending money to iHosting unless I send the payment out, for the record, I wasn't unhappy with iHosting I just don't have the money to run my website at the moment.
I'm sorry to hear you've had issues, you are more than welcome to cancel at anytime. There is no contract with this service, you just pay for what you use. Just open up a ticket and I'll cancel your payments. I'll also reimburse you with free premium time to make up for the charge by your bank.


text:
read -r -d '' EXPECTED <<EOF
// Copyright © 2017 The Kubicorn Authors
//
// Licensed under the Apache License, Version 2.0 (the "License");
// you may not use this file except in compliance with the License.
// You may obtain a copy of the License at
//
//     http://www.apache.org/licenses/LICENSE-2.0
//
// Unless required by applicable law or agreed to in writing, software
// distributed under the License is distributed on an "AS IS" BASIS,
// WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
// See the License for the specific language governing permissions and
// limitations under the License.
EOF

STATUS=0
FILES=$(find . -name "*.go" -not -path "./vendor/*")

for FILE in $FILES; do
        if [ "$FILE" == "./bootstrap/bootstrap.go" ]; then
            continue
        fi
        HEADER=$(head -n 13 $FILE)
        if [ "$HEADER" != "$EXPECTED" ]; then
                echo "incorrect license header: $FILE"
		STATUS=1
        fi
done

exit $STATUS