text:
Mastering the A sail
Though asymmetric spinnakers date as far back as 1865, credit Australian skiff sailor and designer Julian Bethwaite with the invention of the modern asymmetric, which he tested and developed on his Australian 18 designs during the 1980s. Bethwaite needed a spinnaker with a long luff and flat leech on either gybe. This would enable crews to sail the skiff's tight apparent-wind angles without
Though asymmetric spinnakers date as far back as 1865, credit Australian skiff sailor and designer Julian Bethwaite with the invention of the modern asymmetric, which he tested and developed on his Australian 18 designs during the 1980s. Bethwaite needed a spinnaker with a long luff and flat leech on either gybe. This would enable crews to sail the skiff's tight apparent-wind angles without collapsing the chute or sacrificing the sail power they needed to reach high speeds off the wind. That the sail, with its fixed tack and single sheet, simplified downwind sailhandling was an added bonus.
Twenty years on, the asymmetric spinnaker has developed into a versatile downwind sail for a wide variety of performance and cruising boats. Before boatbuilders could introduce the spinnaker on their racers, they had to devise a system for getting the sail away from the blanket of the mainsail while sailing on a low reaching course—not a problem on a skiff, which sails downwind at near-upwind angles. A common solution for this is tacking the sail on a retractable bowsprit; the J/105, in 1991, was the first to reach the masses with this configuration. To make the sail more versatile downwind, it is designed to be projected to windward of centerline, which helps a boat sail lower reaching angles.
Though it requires a small number of crew to handle—it has only one set of sheets, and in most cases no spin pole—compared to a symmetric spinnaker, an asymmetric chute still needs to be trimmed right when sailing a straight line and during maneuvers. To demonstrate, I went sailing with Dave Flynn of Quantum Sail Design Group in Annapolis, Maryland, and worked the 960-square-foot asymmetric on Rum Puppy, a J/105. The results were some tired hands, a few rips in the sailcloth, and the following photo guide to sail trim.
A-sail trim
Ease the spinnaker sheet until the luff of the sail breaks. Trim. Ease it again, trying to maintain a slight curl in the sail. It's that simple, but only if the sail is set up right.
More than a control line you pull and cleat, the tackline is one of the keys to a well-trimmed spinnaker. Dave Flynn's rule of thumb for a sprit boat, such as the J/105, is to ease the tackline if the luff of the sail is no more than 10 percent longer than the straight line from head to tack. This will help project more sail area to windward, allowing the boat to sail deeper angles (more than 135 degrees apparent) more effectively. As windspeed drops, lower the tackline and sail tighter reaching angles.


text:
Prakhar Krishna Tripathi - January 30, 2023
Prakhar Krishna Tripathi - January 7, 2023
Prakhar Krishna Tripathi - December 29, 2022
Your favorite actor Vin diesel biography in detailed
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redpajama_set_name: RedPajamaCommonCrawl


text:
layout: about
title: accent
author: Harsh Vardhan
permalink: /about
---

Hi! I am Harsh Vardhan!

> Sometimes it is people no one imagines anything of who do the things that no one can imagine

I love programming and contributing to open source projects.

redpajama_set_name: RedPajamaGithub


text:
class CreateTables < ActiveRecord::Migration
  def change
    create_table :tables do |t|
      t.integer :number
      t.integer :seats

      t.timestamps null: false
    end
  end
end


text:
Q: Using PHPExcel to append to an Excel file I want to use a form to add input to an excel file. I have the following HTML form.
    <form action="test_003.php" method="post">
    First Name: <input type="text" name="firstName">

    Last Name: <input type="text" name="lastName">

    E-mail: <input type="text" name="email">

    <input type="submit">
    </form>

and my php is:
    <?php

        /** Include PHPExcel */
        require_once 'Classes/PHPExcel.php';
        require_once 'Classes/PHPExcel/IOFactory.php';

        $objPHPExcel = PHPExcel_IOFactory::load("spread.xlsx");
        $objPHPExcel->setActiveSheetIndex(0);
        $row = $objPHPExcel->getActiveSheet()->getHighestRow()+1;

        $objPHPExcel->getActiveSheet()->SetCellValue('A'.$row, $_POST['firstName']);
        $objPHPExcel->getActiveSheet()->SetCellValue('B'.$row, $_POST['lastName'] );
        $objPHPExcel->getActiveSheet()->SetCellValue('C'.$row, $_POST['email']);

        $objWriter = new PHPExcel_Writer_Excel2007($objPHPExcel);
        $objWriter->save('spread.xlsx');

    ?>

The problem is that nothing seems to be happening to the spread.xlsx file on the server

redpajama_set_name: RedPajamaStackExchange


text:
Homestead Hotel
In contrast to the opulence of both the French Lick Springs Hotel and the West Baden Springs Hotel is the more modest, mid-sized Homestead Hotel. This building, located across the street from the West Baden Springs Hotel, was built in 1913. Smaller hotels began appearing in the Springs Valley in the late 1890s. The rates at both French Lick and West Baden ranged from $2-$3 a day so only the wealthy could afford to stay there. The mineral waters and casinos were a powerful enough draw that people of all classes wanted to visit the valley. This resulted in the construction of a series of mid-sized hotels that only charged $1 per day including meals. The Homestead is the only mid-sized hotel that remains today.
The Homestead Hotel is a brick, three story tall structure. The first floor was used for commercial space while the upper floors offered guest rooms. The retail space included a saloon, drugstore, dry goods store, restaurant, town post office, and a ladies' clothing store. There were no casinos or mineral baths at the Homestead. However, these amenities were available at other hotels in the valley. By 1913, three of the 21 hotels had established public casinos. Hotel guests at the Homestead were able to purchase a "water privilege ticket" for either French Lick or West Baden to "take the waters".
In 1919, Ed Ballard, future owner of the West Baden Springs Hotel, purchased the Homestead Hotel for $1. Ballard weathered the beginning of the Depression but sold the Homestead to his cousins in 1934. Upon the transfer of the West Baden Springs Hotel to the Jesuits that same year, the Homestead was renamed the West Baden Springs Hotel. With new ownership and a new name came a new look for the hotel. The main entrance was redesigned and included a revolving door and Art Deco canopy. The building continued to function as a hotel until 1976 when the Northwood Institute purchased the hotel for a dormitory. In 1984, Eugene McDonald purchased both the Homestead and the West Baden Springs Hotels to return them to hotel use. Unfortunately, neither effort was successful and the Homestead was turned over to the county. The hotel was listed in the National Register of Historic Places in 1998. In 2001, the Homestead Hotel underwent a successful restoration effort and was converted into senior housing
Homestead Hotel ~ Source: Courtesy of Indiana DNR
8163 W State Road 56, West Baden Springs, IN 47469
Indiana Division of Historic Preservation and Archaeology, "Homestead Hotel," Discover Indiana, accessed February 1, 2023, https://publichistory.iupui.edu/items/show/312.
Luxury and Leisure in Indiana
Indiana Resorts and Camps
Published on Feb 5, 2018. Last updated on Apr 2, 2019.


text:
Soldiers who are opposed to the military's vaccine mandate have filed a lawsuit in federal court
Refusing vaccination may result in termination from the military.
Four members of the Canadian Armed Forces who are facing disciplinary action for refusing to get vaccinated against COVID-19 presented their case to the Federal Court on Wednesday.
General Wayne Eyre, the Chief of the Defence Staff, has ordered that all personnel of the Armed Forces be vaccinated by the end of November; those who do not will face disciplinary action, including the possibility of expulsion from the military. Since then, the deadline has been pushed again until December 18.
The order is in line with a regulation that applies to all federal employees. Eyre further stated that his directive is in place to defend the troops in the event of a pandemic.
The four military members appealing the order claim in sworn affidavits that they are opposed to obtaining the vaccine for a variety of reasons, including long-term safety concerns and religious objections.
Lt.-Col. Illo Antonio Neri says, "I do not have trust in the government's assertion that they are safe and effective." "More precisely, I don't believe the trials accurately uncovered and assessed all potential vaccination long-term impacts."
military, canada
Despite the fact that Eyre's order allowed for medical, religious, and human rights exemptions, Edmonton lawyer Catherine Christensen, who represented the four military men in court on Wednesday, told The Canadian Press that all of their petitions were denied.
The four service members claim that their constitutional rights are being infringed upon and that the danger of dismissal is excessive.
"I have witnessed individuals convicted of major offences and not dismissed from service during my time in the CAF," Warrant Officer Morgan Christopher Warren writes in his declaration.
Hundreds of pages of evidence have been supplied by government lawyers to back up their claims that vaccines are safe and effective. They've also suggested that the four service members register a grievance with the military if they're unsatisfied.
But, according to Christensen, that would be unacceptable because the order came from the military's senior commander. If the Federal Court grants her interim injunction request, she intends to ask the court to hear the matter in its entirety.
Following many hours of arguments on Wednesday, Federal Court Judge Janet Fuhrer reserved her decision, according to Christensen.
The military has a vaccination rate of 98 per cent.
The four members of the Armed Forces aren't the first to question the government's immunisation regulations. The Federal Court refused to give an injunction for scores of federal workers who are also facing dismissal for refusing to get the shot earlier this month.
Tags: canada news, covid, military, soldiers, termination, vaccine
Islanders who persuade nurses to relocate to P.E.I. will receive a financial reward
Cosmetic Surgery and Botox Charges Hit Saudi Camel Beauty Pageant
How a future president of the United States helped avert a nuclear accident near Canada's capital
Last month, Canada added 154,000 jobs, bringing the unemployment rate to a historic low of 6%
In a fiery statement, O'Toole states that under Trudeau's leadership, Canada is "drowning in debt and division"
Canadian scientists are racing to understand a new omicron variant
Following the tensions between Canada and China, India is pushing for the resumption of trade talks
Jill Biden, in her quiet way, reinvents the role of US First Lady


My work is located at the intersections of sociology of childhood and materialist feminist thought, with a focus on unequal childhoods, migration and stratified social reproduction. It contributes to key debates about the social, affective, political and material status of childhood; adult-child relations and reproductive labour in the context of financialised capitalism; and how and to what effect children are involved in migration processes.
the perceived commonalities and conflicts between children's interests and women's interests and, more broadly, intersections and antagonisms between feminisms and the politics of childhood (https://feminismandchildhood.wordpress.com/).
Methodologically, I am interested in the ethics and politics of participatory research with children and other marginalised social groups.
I welcome applications from potential doctoral students interested in the politics of children and childhood; care / social reproduction; child migration; the intersections of gender and generation.


text:
package control;

import static org.junit.Assert.*;
import static org.mockito.Matchers.anyInt;
import static org.mockito.Matchers.anyObject;
import static org.mockito.Mockito.*;

import data.*;
import gui.centerarea.TimelinesGridPane;
import gui.modal.ShotDecouplingModalView;
import gui.root.RootCenterArea;
import javafx.application.Platform;
import javafx.collections.ObservableList;
import javafx.scene.Node;
import javafx.scene.layout.AnchorPane;
import javafx.stage.Stage;
import org.junit.Before;
import org.junit.Test;
import org.mockito.Mock;
import org.mockito.Mockito;

import gui.centerarea.CameraShotBlock;
import gui.events.CameraShotBlockUpdatedEvent;
import gui.root.RootPane;
import org.testfx.framework.junit.ApplicationTest;

import java.util.ArrayList;
import java.util.Arrays;
import java.util.Collections;
import java.util.concurrent.CountDownLatch;

/**
 * @author alex
 */
public class TimelineControllerTest extends ApplicationTest {
    private TimelineController timelineController;
    private ControllerManager manager;
    private ScriptingProject project;
    private CameraShot shot;
    private CameraShotBlock shotBlock;
    private DirectorTimelineController directorTimelineController;

    @Before
    public void initialize() {
        RootPane rootPane = Mockito.mock(RootPane.class);
        TimelineController timelineControllerMock = Mockito.mock(TimelineController.class);
        DetailViewController detailViewController = Mockito.mock(DetailViewController.class);
        ToolViewController toolViewController = Mockito.mock(ToolViewController.class);
        directorTimelineController = Mockito.mock(DirectorTimelineController.class);
        ProjectController projectController = Mockito.mock(ProjectController.class);
        manager = spy(new ControllerManager(rootPane, timelineControllerMock, detailViewController, toolViewController,
                                            directorTimelineController, projectController));

        project = spy(new ScriptingProject());
        project.addCameraTimeline(new CameraTimeline(new Camera("a", "b", new CameraType()), null));
        project.addCameraTimeline(new CameraTimeline(new Camera("a", "b", new CameraType()), null));

        timelineController = spy(new TimelineController(manager));
        timelineController.getControllerManager().setScriptingProject(project);

        shot = new CameraShot("Shot test", "", 1, 2);
        project.getCameraTimelines().get(0).addShot(shot);

        shotBlock = Mockito.mock(CameraShotBlock.class);
        when(shotBlock.getShotId()).thenReturn(shot.getInstance());
        when(shotBlock.getShot()).thenReturn(new CameraShot("test", "test", 1, 2));
    }

    @Test
    public void shotChangedLengthTest() {
        timelineController.shotChangedHandler(
                new CameraShotBlockUpdatedEvent(shotBlock, 0)
        );

        assertEquals(2.0, shot.getEndCount(), 0);
    }

    @Test
    public void shotChangedWithBlocks() {
        timelineController.setCameraShotBlocks(new ArrayList<>(Arrays.asList(shotBlock)));
        timelineController.shotChangedHandler(
                new CameraShotBlockUpdatedEvent(shotBlock, 0)
        );

        assertEquals(2.0, shot.getEndCount(), 0);
    }

    @Test
    public void shotChangedStartPositionTest() {
        timelineController.shotChangedHandler(
                new CameraShotBlockUpdatedEvent(shotBlock, 0)
        );

        assertEquals(1.0, shot.getBeginCount(), 0);
    }

    @Test
    public void shotChangedTimelinesTest() {
        timelineController.shotChangedHandler(
                new CameraShotBlockUpdatedEvent(shotBlock, 0)
        );

        // Verify movement between centerarea
        assertEquals(1, project.getCameraTimelines().get(0).getShots().size());
        assertEquals(0, project.getCameraTimelines().get(1).getShots().size());
    }

    @Test
    public void decoupleTest() {
        DirectorShot directorShotSpy = Mockito.spy(new DirectorShot(new GeneralShotData("dir shot", "description",
                1, 2), 0, 0, new ArrayList<>()));
        CameraShot shotSpy = Mockito.spy(shot);
        directorShotSpy.addCameraTimelineIndex(0);
        directorShotSpy.addCameraShot(shotSpy);
        shotSpy.setDirectorShot(directorShotSpy);

        timelineController.decoupleShot(0, shotSpy);
        verify(directorShotSpy).removeCameraShot(shotSpy, 0);
    }

    private void initRootPaneForCameraShotAdding() {
        // Set rootpane of timelinecontroller to a mock
        RootPane rootPane = Mockito.mock(RootPane.class);
        timelineController.setRootPane(rootPane);

        // Add needed mocks to the rootpane
        RootCenterArea rootCenterArea = Mockito.mock(RootCenterArea.class);
        ObservableList<Node> nodeList = Mockito.mock(ObservableList.class);
        AnchorPane mainTimelineAchorPane = Mockito.mock(AnchorPane.class);
        when(rootCenterArea.getMainTimeLineAnchorPane()).thenReturn(mainTimelineAchorPane);
        when(mainTimelineAchorPane.getChildren()).thenReturn(nodeList);
        when(rootPane.getRootCenterArea()).thenReturn(rootCenterArea);
        TimelinesGridPane timelinesGridPane = Mockito.mock(TimelinesGridPane.class);
        when(timelinesGridPane.getChildren()).thenReturn(nodeList);
        when(rootCenterArea.getMainTimeLineGridPane()).thenReturn(timelinesGridPane);
    }

    @Test
    public void addCameraShot1() {
        Mockito.doNothing().when(timelineController).addCameraShot(anyInt(), anyObject());
        timelineController.addCameraShot(1, new CameraShot("name", "description", 2.0, 3.0));
        Mockito.verify(timelineController, times(1)).addCameraShot(anyInt(), anyObject());
    }

    @Test
    public void addCameraShot2() throws InterruptedException {
        CameraTimeline timeline = manager.getScriptingProject().getCameraTimelines().get(0);
        int curTimelineLength = timeline.getShots().size();
        CameraShot shot = new CameraShot("name", "description", 2.0, 3.0);

        Mockito.doNothing().when(manager).setActiveShotBlock(anyObject());
        int curLength = timelineController.getCameraShotBlocks().size();
        Mockito.doNothing().when(project).changed();
        Mockito.doNothing().when(timelineController).checkCollisions(anyInt(), anyObject());

        initRootPaneForCameraShotAdding();

        // Call method under test
        final CountDownLatch[] latch = {new CountDownLatch(1)};
        Platform.runLater(() -> {
            timelineController.addCameraShot(0, shot);
            latch[0].countDown();
        });
        latch[0].await();

        // Do verifications
        Mockito.verify(timelineController, times(1)).checkCollisions(anyInt(), anyObject());
        Mockito.verify(manager, times(1)).setActiveShotBlock(anyObject());
        assertEquals(curLength + 1, timelineController.getCameraShotBlocks().size());
        Mockito.verify(project, times(1)).changed();
        assertEquals(curTimelineLength + 1, timeline.getShots().size());
        assertEquals(shot, timeline.getShots().get(timeline.getShots().size() - 1));
    }

    @Test
    public void removeCameraShotBlockTest() throws InterruptedException {
        CameraShot shot = new CameraShot("name", "description", 2.0, 3.0);
        initRootPaneForCameraShotAdding();

        // Call method under test
        final CountDownLatch[] latch = {new CountDownLatch(1)};
        Platform.runLater(() -> {
            timelineController.addCameraShot(0, shot);
            CameraShotBlock shotBlock = timelineController.getCameraShotBlocks().get(timelineController.getCameraShotBlocks().size() - 1);
            timelineController.removeCameraShot(shotBlock);
            latch[0].countDown();
        });
        latch[0].await();

        // Do verifications
        assertNull(manager.getActiveShotBlock());
        Mockito.verify(project, times(2)).changed();
        assertFalse(manager.getScriptingProject().getCameraTimelines().get(0).getShots().contains(shot));
    }

    @Test
    public void removeCameraShotTest() throws InterruptedException {
        CameraShot shot = new CameraShot("name", "description", 2.0, 3.0);
        initRootPaneForCameraShotAdding();

        // Call method under test
        final CountDownLatch[] latch = {new CountDownLatch(1)};
        Platform.runLater(() -> {
            timelineController.addCameraShot(0, shot);
            timelineController.removeCameraShot(shot);
            latch[0].countDown();
        });
        latch[0].await();

        // Do verifications
        assertNull(manager.getActiveShotBlock());
        Mockito.verify(project, times(2)).changed();
        assertFalse(manager.getScriptingProject().getCameraTimelines().get(0).getShots().contains(shot));
    }

    @Test
    public void modifyCameraShot() {
        CameraShotBlockUpdatedEvent event = Mockito.mock(CameraShotBlockUpdatedEvent.class);
        when(event.getOldTimelineNumber()).thenReturn(0);
        CameraShot shot = spy(new CameraShot("name", "description", 2.0, 3.0));
        CameraShotBlock shotBlock = Mockito.mock(CameraShotBlock.class);
        when(shotBlock.getShot()).thenReturn(shot);
        when(shotBlock.getBeginCount()).thenReturn(2.0);
        when(shotBlock.getEndCount()).thenReturn(3.0);
        when(shotBlock.getTimetableNumber()).thenReturn(1);

        timelineController.modifyCameraShot(event, shotBlock);

        Mockito.verify(shot, times(1)).setBeginCount(2.0);
        Mockito.verify(shot, times(1)).setEndCount(3.0);
        assertTrue(project.getCameraTimelines().get(1).getShots().contains(shot));
        assertFalse(project.getCameraTimelines().get(0).getShots().contains(shot));
        assertEquals(shotBlock, manager.getActiveShotBlock());
    }

    @Test
    public void checkCollisionsAdding() throws InterruptedException {
        CameraShot shot = new CameraShot("name", "description", 2.0, 4.0);
        CameraShot shot2 = new CameraShot("name2", "description2", 2.0, 5.0);

        ArrayList<CameraTimeline> timelines = Mockito.mock(ArrayList.class);
        CameraTimeline timeline = Mockito.mock(CameraTimeline.class);
        when(timelines.get(0)).thenReturn(timeline);
        when(project.getCameraTimelines()).thenReturn(timelines);
        CameraShotBlock shotBlock = Mockito.mock(CameraShotBlock.class);
        Mockito.doNothing().when(timelineController).removeCollisionFromCameraShotBlock(anyObject());
        when(timeline.getOverlappingShots(anyObject())).thenReturn(new ArrayList<>(Arrays.asList(shot, shot2)));
        timelineController.getCameraShotBlocks().add(shotBlock);
        when(shotBlock.getShotId()).thenReturn(shot.getInstance());

        // Call method under test
        timelineController.checkCollisions(0, 1, shotBlock);

        // Do verifications
        assertTrue(timelineController.getOverlappingCameraShotBlocks().contains(shotBlock));
        Mockito.verify(shotBlock, times(1)).setColliding(true);
    }

    @Test
    public void checkCollisionsRemoving() throws InterruptedException {
        CameraShot shot = new CameraShot("name", "description", 2.0, 4.0);

        CameraShotBlock shotBlock = Mockito.mock(CameraShotBlock.class);
        Mockito.doNothing().when(timelineController).removeCollisionFromCameraShotBlock(anyObject());
        timelineController.getOverlappingCameraShotBlocks().add(shotBlock);
        timelineController.getCameraShotBlocks().add(shotBlock);
        when(shotBlock.getShot()).thenReturn(shot);

        // Call method under test
        timelineController.checkCollisions(0, 1, shotBlock);

        // Do verifications
        assertTrue(timelineController.getOverlappingCameraShotBlocks().isEmpty());
        Mockito.verify(shotBlock, times(2)).setColliding(false);
    }

    @Test
    public void checkCollisionsRemovingCollidesWith() throws InterruptedException {
        CameraShot shot = Mockito.mock(CameraShot.class);
        CameraShot shot2 = Mockito.mock(CameraShot.class);

        CameraShotBlock shotBlock = Mockito.mock(CameraShotBlock.class);
        CameraShotBlock shotBlock2 = Mockito.mock(CameraShotBlock.class);
        when(shotBlock.getShot()).thenReturn(shot);
        ArrayList shotList = new ArrayList<>(Collections.singletonList(shot2));
        when(shot.getCollidesWith()).thenReturn(shotList);
        doReturn(shotBlock2).when(timelineController).getShotBlockForShot(shot2);
        when(shotBlock2.getShot()).thenReturn(shot2);
        // Call method under test
        timelineController.resetColliding(shotBlock);

        // Do verifications
        assertTrue(shotList.isEmpty());
        Mockito.verify(shotBlock, times(1)).setColliding(false);
    }

    @Test
    public void removeCollisionFromCameraShotBlock() {
        CameraShot shot = new CameraShot("name", "description", 2.0, 4.0);
        CameraShot shot2 = new CameraShot("name2", "description2", 2.0, 5.0);

        CameraShotBlock shotBlock = Mockito.mock(CameraShotBlock.class);
        when(shotBlock.getShot()).thenReturn(shot);
        shot.getCollidesWith().add(shot2);
        shot2.getCollidesWith().add(shot);

        // Call method under test
        timelineController.removeCollisionFromCameraShotBlock(shotBlock);

        // Do verifications
        assertTrue(shot.getCollidesWith().isEmpty());
        assertTrue(shot2.getCollidesWith().isEmpty());
    }

    @Test
    public void decoupleAndModify() throws InterruptedException {
        CameraShot shot = spy(new CameraShot("name", "description", 2.0, 4.0));
        CameraShotBlock shotBlock = Mockito.mock(CameraShotBlock.class);
        when(shotBlock.getShot()).thenReturn(shot);
        DirectorShot directorShot = Mockito.mock(DirectorShot.class);
        shot.setDirectorShot(directorShot);
        CameraShotBlockUpdatedEvent event = Mockito.mock(CameraShotBlockUpdatedEvent.class);
        when(event.getCameraShotBlock()).thenReturn(shotBlock);

        // Call method under test
        final CountDownLatch[] latch = {new CountDownLatch(1)};
        Platform.runLater(() -> {
            timelineController.decoupleAndModify(event, shotBlock);
            latch[0].countDown();
        });
        latch[0].await();

        // Do verifications
        Mockito.verify(shotBlock, times(3)).getShot();
    }

    @Test
    public void decoupleAndModifyFalse() throws InterruptedException {
        CameraShot shot = Mockito.mock(CameraShot.class);
        CameraShotBlock shotBlock = Mockito.mock(CameraShotBlock.class);
        when(shotBlock.getShot()).thenReturn(shot);
        DirectorShot directorShot = Mockito.mock(DirectorShot.class);
        when(shot.getDirectorShot()).thenReturn(directorShot);
        CameraShotBlockUpdatedEvent event = Mockito.mock(CameraShotBlockUpdatedEvent.class);
        when(event.getCameraShotBlock()).thenReturn(shotBlock);
        when(shotBlock.getBeginCount()).thenReturn(5.0);
        when(shot.getBeginCount()).thenReturn(5.0);

        // Call method under test
        final CountDownLatch[] latch = {new CountDownLatch(1)};
        Platform.runLater(() -> {
            timelineController.decoupleAndModify(event, shotBlock);
            latch[0].countDown();
        });
        latch[0].await();

        // Do verifications
        Mockito.verify(shotBlock, times(10)).getShot();
    }

    @Test
    public void setNumTimelines() {
        timelineController.setNumTimelines(5);
        assertEquals(5, timelineController.getNumTimelines());
    }

    @Test
    public void getShotBlockForShotNull() {
        CameraShot shot = Mockito.mock(CameraShot.class);
        assertNull(timelineController.getShotBlockForShot(shot));
    }

    @Test
    public void getShotBlockForShot() {
        CameraShot shot = Mockito.mock(CameraShot.class);
        CameraShotBlock shotBlock = Mockito.mock(CameraShotBlock.class);
        when(shot.getInstance()).thenReturn(5);
        when(shotBlock.getShot()).thenReturn(shot);
        timelineController.setCameraShotBlocks(Arrays.asList(shotBlock));
        assertEquals(shotBlock, timelineController.getShotBlockForShot(shot));
    }

    @Test
    public void recomputeAllCollisions() {
        Mockito.doNothing().when(timelineController).checkCollisions(anyInt(), anyObject());
        CameraShotBlock shotBlock = Mockito.mock(CameraShotBlock.class);
        timelineController.setCameraShotBlocks(Arrays.asList(shotBlock));
        when(shotBlock.getTimetableNumber()).thenReturn(0);

        timelineController.recomputeAllCollisions();
        Mockito.verify(timelineController, times(1)).checkCollisions(0, shotBlock);
    }

    @Test
    public void cancelButtonListener() {
        ShotDecouplingModalView view = Mockito.mock(ShotDecouplingModalView.class);
        timelineController.cancelButtonListener(view, shotBlock);
        Mockito.verify(shotBlock, times(1)).restorePreviousPosition();
        Mockito.verify(view, times(1)).hideModal();
    }

    @Test
    public void confirmButtonListener() {
        ShotDecouplingModalView view = Mockito.mock(ShotDecouplingModalView.class);
        CameraShotBlockUpdatedEvent event = Mockito.mock(CameraShotBlockUpdatedEvent.class);
        when(event.getOldTimelineNumber()).thenReturn(5);
        Mockito.doNothing().when(timelineController).decoupleShot(anyInt(), anyObject());
        Mockito.doNothing().when(timelineController).modifyCameraShot(anyObject(), anyObject());
        CameraShot shot = Mockito.mock(CameraShot.class);
        when(shotBlock.getShot()).thenReturn(shot);

        timelineController.confirmButtonListener(view, shotBlock, event);
        Mockito.verify(timelineController, times(1)).decoupleShot(5, shot);
        Mockito.verify(timelineController, times(1)).modifyCameraShot(event, shotBlock);
    }

    @Override
    public void start(Stage stage) throws Exception {

    }
}


what is the reason for this discrepancy?
It includes the TypeScript compiler and it includes snapshots which increase startup speed. Neither of these are true of Node.js.
So maybe the best thing to do is close as "wont fix".
You are comparing apples to oranges. We track the size the binary in the stats and do care about it, but the two things I mentioned above are significant differences to Node.js.
@kitsonk i think its more like apples versus larger apples.
We track binary size and want to keep it as small as possible - but Deno includes the typescript compiler which is going to inflate the binary size. It will probably never be smaller than Node.


text:
St. Vincent, Beck (finally), Wu-Tang, and more albums to expect this October
Kelsey J. Waite, Clayton Purdom, Sean O'Neal, Josh Modell, Katie Rife, Gwen Ihnat, Caitlin PenzeyMoog, Laura M. Browning, Kyle Ryan, Matt Gerardi, Alex McLevy, William Hughes, Erik Adams, Kevin Pang, and A.A. Dowd
Kaitlyn Aurelia Smith
Blue Hawaii
The Front Bottoms
Margo Price
Bell Witch
Alessandro Cortini
Ducktails
Billy Corgan
Dead Leaf Echo
Iron Chic
Aris Kindt
St. Vincent (Photo: Michael Loccisano/Getty Images), Beck (Photo: Emma McIntyre/Getty Images for CBS Radio), and RZA (Photo: Rick Kern/Getty Images for Samsung). Graphic: Nicole Antonuccio.
Every Friday, dozens of new records are released into the wild. Some make big splashes, and others sink almost immediately. For most music consumers, it's almost too much information, and save for those precious few who spend their hours glued to review sites and release calendars, it's hard to know what's coming out when. Thankfully, The A.V. Club is here to help those struggling souls. Each month, we offer a fairly comprehensive list of what's coming to record stores and streaming services in upcoming weeks, complete with capsule previews so interested parties can know what to expect.
Waka Flocka Flame, Flockaveli 2
On the eighth day, God created "Hard In Da Paint," Waka Flocka's 2010 neighborhood-leveling assault vehicle of a single. Producer Lex Luger may've fallen out of favor in intervening years, but their collaboration was enough to keep both sustained throughout that year's blistering Flockaveli. Neither has done terribly much in the seven years since, but who knows? Maybe they've got another knockout blow with this sequel. [Clayton Purdom]
Blue Hawaii, Tenderness
Blue Hawaii's full-length debut, Untogether, was one of the sleeper pleasures of 2013—a dance-pop record made for standing alone, as the coldly clipped beats and ethereal vocals of duo Raphaelle Standell-Preston (also of Braids) and Alexander Cowan swell and recede like the ghosts of parties past. Judging by the new "No One Like You"—preceded by the singles "Get Happy" and "Get Happier"—Tenderness promises to, well, get happier. There's an uncomplicated disco vibe here that's a little underwhelming, but given that Blue Hawaii has described Tenderness as "Björk meets The xx and DJ Koze," maybe this is just the sunshine that creates the album's deeper shadows. [Sean O'Neal]
Alessandro Cortini, Avanti
In his main gig with Nine Inch Nails, Alessandro Cortini turns synthesizers into blunt-force weapons, but his solo work revels in their delicacy. The new Avanti, like the albums that precede it, was recorded live on a single instrument: the EMS Synthi AKS, the "suitcase" synth beloved by Brian Eno and Pink Floyd, whose otherworldly pulses Cortini wrangles into something surprisingly homey for a record inspired by a recently discovered cache of old Super 8 home movies. Lead single "Vincere" evokes melancholy nostalgia through its wistful watercolor swirls, layered with sweet choral harmonies. [Sean O'Neal]
Cults, Offering
Brother-sister duo Madeline and Richie James Follin, a.k.a. Cults, have been relatively quiet since the release of their 2013 album, Static, releasing just one single in the four years since. Based on the self-titled single off their new album Offering, though, the break has been good for them, with the song adding a slick, sun-kissed sheen to their deceptively simplistic pop songwriting. [Katie Rife]
The Darkness, Pinewood Smile
Any momentum The Darkness is still riding from 2003's "I Believe In A Thing Called Love" has pretty much sputtered out, and early singles from the band's fifth album show the Brits still aiming for the Pyromania-era Def Leppard energy it swiped years ago, even though it's clearly waning. At least the "Solid Gold" video earns some points for singer Justin Hawkins' metallic-jumpsuit bombast, even though it hosts the worst chorus line in memory—"And we're never gonna stop / Shitting out gold"—all while Hawkins waxes rhapsodic about the "sacred promise of fellatio." That falsetto only goes so far, man. [Gwen Ihnat]
Deradoorian, Eternal Recurrence
After the swirling rhythms of her debut album, The Expanding Flower Planet, former Dirty Projector Angel Deradoorian has gone the opposite direction on its follow-up, forgoing percussion of any kind. Less a collection of songs than a kind of meditative sound collage—"thoughts in sound," as she describes them—Eternal Recurrence combines her interests in ancient music and Eastern melodies with synth-based, trance-like murmurs. Single "Mountainside" stands out for having a recognizable structure, though that makes it an album outlier. [Alex McLevy]
Ducktails, Jersey Devil
Matt Mondanile's solo-project turned full band has always been a sleepy affair, but it feels like the former Real Estate guitarist has finally taken the plunge from "dreamy" into positively somnambulistic with his latest release. The follow-up to 2015's St. Catherine, Jersey Devil put its most hypnotic, synth-heavy foot forward last month with the release of "Map To The Stars." The 10-song album occasionally picks up the pace, but only relatively, never getting its heart beating faster than a pleasant, whispery stroll. [William Hughes]
Liam Gallagher, As You Were
Noel Gallagher may boast that he was the brains of Oasis, but Liam Gallagher's new solo release puts that brotherly rivalry to the test (yet again). "Wall Of Glass" boasts some jagged guitars and an angry harmonica solo, adding some welcome alt-country sensibility to the Britpopper, while the pared-down "Chinatown" lets Gallagher's vocals masterfully ponder our current political landscape. And "For What It's Worth" is so hooky and affecting—reminiscent, yet not reductive of Gallagher's former outfit—it almost makes an actual Oasis reunion redundant. [Gwen Ihnat]
Andrew Hung, Realisationship
Realisationship is the first standalone LP from Fuck Buttons' Andrew Hung. While his bandmate, Benjamin John Power, has taken up Buttons' penchant for producing beautiful, menacing noise as Blanck Mass, Hung's solo efforts, whether the Greasy Strangler soundtrack or his chiptune-inspired Rave Cave EPs, have managed to be both weirder and more welcoming. On Realisationship, he makes another leap and puts his versatile singing voice at the center of his pulsating music. [Matt Gerardi]
New Politics, Lost In Translation
Danish alternapop band New Politics insidiously inserted itself into the nation's unsuspecting ears with "Harlem," the ubiquitous hit from 2013's A Bad Girl In Harlem that soundtracked everything from the Frozen trailer to a Taco Bell commercial. The new "CIA," from the band's upcoming fourth album, has an even more maddeningly catchy chorus, promising placement in any number of trailers and commercials over the next year. Will Shazam's servers be able to handle the traffic? [Kyle Ryan]
Kele Okereke, Fatherland
Kele Okereke is best known as the frontman of Bloc Party, a band that has sort of mutated itself out of the public eye over the past few years through some not-great records and lineup changes. Okereke's solo albums to date have been relatively weightless electronic affairs with occasional flashes of his Bloc Party brilliance. With Fatherland—the first solo album to which he's also attached his last name—Okereke goes singer-songwriter, a massive but not unwelcome change. The first single, "Streets Been Talkin'" has a Nick Drake vibe. [Josh Modell]
Kaitlyn Aurelia Smith, The Kid
Following a momentous 2016—which saw the release of the breakout EARS and the Suzanne Ciani collaboration Sunergy—Kaitlyn Aurelia Smith offers up the ambitious concept album The Kid, which traces the life cycle from birth to death in four distinct stages. It's a fitting subject for the Northern Californian composer and synthesist, whose albums have always incorporated the rhythms of the natural world; on The Kid, she continues to blur the line between the natural and artificial. Take the vibrant, percolating lead single "To Follow And Lead" as evidence that this will be one of the year's strongest albums, experimental or otherwise. [Kelsey J. Waite]
Weaves, Wide Open
The Toronto-based four-piece Weaves feels poised for a breakthrough with its upcoming sophomore album, Wide Open. Singer Jasmyn Burke says it's full of songs that look at how everyone in her age group is "having a tough time with life in one way or another" and blow those feelings up into "something like an anthem." That's certainly true of the band's latest peek at what Wide Open has in store, the furious, freaky rocker "Scream." [Matt Gerardi]
Wolf Parade, Cry Cry Cry
After a half-decade hiatus, much-beloved indie rock group Wolf Parade reformed last year behind a number of shows and a new record, its first since 2010. While Cry Cry Cry's songs show an evolution in structure and sound, those old churning verses and anthemic choruses feel like the band just stepped back into its practice space after a week's vacation. If first single "Valley Boy" is any indication, devoted fans—or new listeners, brought in by Dan Boeckner's excellent interim groups Divine Fits and Operators, or by Spencer Krug's Moonface—will be very happy with the results. [Alex McLevy]
Courtney Barnett & Kurt Vile, Lotta Sea Lice
It must have been impossible to resist—a duo so easily called Kurt and Courtney. But fans of the two laid-back indie rockers will find no grunge throwbacks on Lotta Sea Lice, which will hopefully bring out the best in both: his stoner jams and her fantastic talk-sing melodies. If the first single from Lotta Sea Lice, the lengthy groover "Over Everything," is any indication, the whole thing should be fantastic and thoroughly not in-your-face. [Josh Modell]
Beck, Colors
A new album from Beck has been delayed enough times to become a running joke in these previews, but by all official accounts—and barring any last-minute tinkering—yes, Colors finally arrives this October. As things tend to go in his creative cycle, he's currently in between Sad Beck periods, having previously channeled his more introspective muses into the winner of 2014's Album Of The Year Grammy, Morning Phase. This time, Beck intentionally set out to make something "really happy," inspired by his belief that we could all use a little uplift right now. The early tracks certainly bear that out: "Dreams," "Wow," and "Up All Night" don't have anything on their mind beyond funky good times and getting totally blissed out. [Sean O'Neal]
William Patrick Corgan, Ogilala
There may be no modern rock star with more baggage than Billy Corgan, whose reputation—for being egotistical, for being insufferably pretentious—only grows with each interview or his latest eight-hour raga. The Smashing Pumpkins frontman looks to strip all that away on his second solo effort, Ogilala, abandoning both his famous name and the goth-electro textures he normally favors, and instead recording a set of sensitive, singer-songwriter ballads with producer Rick Rubin, abetted solely by acoustic guitar, piano, and a string quartet. Lead single "Aeronaut" finds Mr. William Patrick Serious Grown Man Corgan laying hard on both the piano and his vibrato, creating a mournful lullaby that's both unlike anything he's done before, yet—with that voice and lyrics like "Can a boy float through time and space?"—still unmistakably Billy. [Sean O'Neal]
Dead Leaf Echo, Beyond.Desire
For its sophomore record, Brooklyn collective Dead Leaf Echo builds upon the 4AD-indebted shoegaze it debuted with 2013's Thought & Language, this time enlisting the expertise of My Bloody Valentine engineer Guy Fixsen and Jorge Elbrecht (Ariel Pink) to capture something closer to the four-piece's live sound. "Temple" is a prime example of its self-described "nouveau wave" aesthetic, with layers upon layers of warped guitars enveloping yearning vocals—a sort of heartsick, acrophobic wooziness you don't want to recover from. [Kelsey J. Waite]
The Front Bottoms, Going Grey
Full of clever, hook-laden indie rock, The Front Bottoms' 2015 album, Back On Top, was one of the year's best, and the New Jersey duo's upcoming sixth album, Going Grey, builds on that momentum. Standout track "Bae" is typical, marrying insightful lyrics ("When you realize / The crew you roll with / Is actually / What makes you nervous") with a massively catchy, "Buddy Holly"-esque chorus. Singer-guitarist Brian Sella is also once again on point with his song-title game: "You Used To Say (Holy Fuck)," "Don't Fill Up On Chips." [Kyle Ryan]
Iron Chic, You Can't Stay Here
Iron Chic renews its status as one of the best punk bands out there with its third full-length, which nails the center of a Venn diagram where catchy, cathartic, and clever overlap. The Long Island quintet has been at it for nearly a decade, and its melodic punk is now fully honed and nicely nuanced, never settling for de rigueur chord progressions and pat construction. [Kyle Ryan]
King Krule, The Ooz
After a four-year hiatus from solo work, 23-year-old wunderkind Archy "King Krule" Marshall returns with his second full-length album, The Ooz. His music is as tense and grimy as ever, an eclectic mix of despondent rock, woozy trip-hop, and adventures in jazzy instrumentation, all bound together by Marshall's distinctively deep voice and depictions of the dark, dripping innards of South London. [Matt Gerardi]
Pink, Beautiful Trauma
A lot has happened in the world since Pink's last album, 2012's The Truth About Love, and as she said at the recent MTV VMAs, motioning to her husband, Carey Hart, "I think everyone's sick of hearing me write about our love." Instead, Pink uses the trauma of the 2016 election to express herself more politically than ever on Beautiful Trauma, with first single "What About Us?" capturing a collective national anguish—"We are billions of beautiful hearts / And you sold us down the river too far"—to create an effective rallying cry. [Gwen Ihnat]
Robert Plant, Carry Fire
If "Going To California" is your favorite Led Zeppelin song, you should be all over Robert Plant's latest solo effort, Carry Fire. Early track "The May Queen" proves that all Plant's voice still needs is a little acoustic guitar, while the more spirited "Bones Of Saints" protests the war machine with a multi-layered chorus wail of "no"s. Plant's powerful screams are now few and far between, and his legendary voice is scratchier than ever, but that actually lends itself well to these decidedly lo-fi cuts. [Gwen Ihnat]
St. Vincent, Masseduction
Masseduction (read: "mass seduction," not "mass education") is being heralded by an amount of po-mo cheek that's become standard for new works released under Annie Clark's St. Vincent moniker, all retina-searing hues, pop-art tableau, faux interviews, and literal cheeks. Beneath the glossy surfaces, Clark promises a record that's "all about sex and drugs and sadness," one that matches the singer-songwriter's typically wide emotional range and fearsome guitar playing with the nouveau-stadium-rock sensibilities of producer Jack Antonoff. The transcontinental trek of "New York" and "Los Ageless" turns up some of the biggest choruses in the St. Vincent catalog, the piano balladry of the former and the industrial thump of the latter making good on Clark's promised Masseducation themes. [Erik Adams]
Stars, There Is No Love in Fluorescent Light
It's been a busy year for the many individual acts who make up Broken Social Scene, marked by strong releases from Feist, Emily Haines, and the flagship collective itself. After contributing to the resurgent rumble of BSS' Hug Of Thunder, the romantic radicals of Stars return with their ninth studio album, There Is No Love In Fluorescent Light. It's the group's first LP to be recorded with an outside producer—Peter Katis, known for his work with The National, Jónsi, and Japandroids—but There Is No Love In Fluorescent Light retains the push-pull that's defined Stars' music for nearly two decades: Between the personal and the political, between contemporary concerns and synthpop throwbacks, between the voices of Torquil Campbell and Amy Millan. [Erik Adams]
TUSKS, Dissolve
U.K. songwriter Emily Underhill makes her full-length debut as TUSKS with the promising Dissolve, an alt-pop album of emotive, wintry expanse that calls to mind the likes of Daughter and Sigur Rós. These songs feel intimate and meticulously crafted, and Underhill excels at turning from pin-drop moments to explosive ones. The way standout "Last" shifts suddenly from the drowsily strummed verse to the massive, kaleidoscopic chorus is enough to make you keep hitting repeat. [Kelsey J. Waite]
Wu-Tang, The Saga Continues
It's important to note that this isn't exactly a proper Wu-Tang record, but rather an "affiliated" one, "presented by" the RZA and "crafted by" Mathematics. What that likely means is a bunch of Mathematics beats compiled over a long span of time with verses by various members of the Wu-Tang Clan—as well as their friends—none of whom may have ever been in the same room. But hey, Math has produced some great shit, including some of the better tracks off post-millennial Wu-Tang projects, so this might work out after all. [Clayton Purdom]
Bell Witch, Mirror Reaper
The thunderous, deliberate Bell Witch already makes music that sounds like the sonic distillation of grief. One can only imagine how crushingly blue things are going to get on Mirror Reaper, the first album the acclaimed Seattle group has released since the death of founding member, drummer, and vocalist Adrian Guerra. 2015's Four Phantoms, which Guerra helped record before leaving the band, was as slow and heavy as shifting tectonic plates, riding a glacial groove over four epic bummers. Something tells us that the new record—a single 83-minute track, laid down by surviving founder Dylan Desmond, plus two new members—will really put the funeral in funeral doom. [A.A. Dowd]
Bully, Losing
Nashville's Bully sounds like a band out of its time, its gritty punk—anchored by singer-guitarist Alicia Bognanno's raspy howl—recalling stalwarts of '90s alternative such as Mudhoney and Nirvana. Since Bully's solid 2015 debut, Feels Like, Bognanno has faced that reckoning of true adulthood everyone faces in their 20s, reflected in the album's title and themes. That some of the songs could've soundtracked a movie scene where an ambitious Gen Xer's plans for a high-speed rail system in Seattle are shot down is incidental. [Kyle Ryan]
John Carpenter, Anthology
Hot off a series of sold-out shows, America's finest director/composer is finally collecting many of his most beloved movie themes in a single place. Newly re-recorded with the team that helped Carpenter produce his recent Lost Themes albums, Anthology includes 13 tracks from throughout the director's storied career. Songs range from synth masterpieces like "Escape From New York" and "Assault On Precinct 13," to more conventional tracks like the metal-heavy "In The Mouth Of Madness" or the honky-tonk overtones of Big Trouble In Little China's "Porkchop Express." [William Hughes]
Circuit Des Yeux, Reaching For Indigo
Haley Fohr, alias Circuit Des Yeux, returns with Reaching For Indigo, her first release under Drag City. Coming after a phenomenal run of releases—including 2015's mesmerizing In Plain Speech and last year's Jackie Lynn persona/storytelling vehicle—the Chicago-based singer-songwriter sounds as compellingly meditative as ever in the single "Paper Bag," which adds a trippy layer to her already distinct sound. [Caitlin PenzeyMoog]
Colleen, A Flame My Love, A Frequency
On her seventh album, French artist Colleen, a.k.a. Cécile Schott, trades in her viola da gamba for a newfound affinity for synthesizers. The eight-song A Flame My Love, A Frequency was written in the aftermath of the 2015 Paris attacks—an event Schott came chillingly close to herself—and the album's eerie, offbeat compositions reflect the out-of-body introspection of this time. "Separating" suggests that Schott's delay-laden process on 2015's Captain Of None carries over effortlessly to her new tools, but this time the Arthur Russell influence meets that of Delia Derbyshire. [Kelsey J. Waite]
Destroyer, Ken
After a startling but ultimately enjoyable shift toward lite-FM cheesiness on 2011's Kaputt and a return to the band's lush, rambling rock on its follow-up, Poison Season, Destroyer's upcoming 12th album pulls from both poles and adds a surprising, pervasive third element: cold, pulsing electronics. Early single "Tinseltown Swimming In Blood" is a winning combination of New Order rhythms and Kaputt's gentle, echoing horns, while "Sky's Grey" kicks off the record with a jittering Casio preset beat. [Matt Gerardi]
William Eggleston, Musik
Proving it's never too late to follow your own musical dreams, famed photographer William Eggleston will release his debut album at the age of 78. The Warhol cohort known for his groundbreaking, deceptively ordinary, yet deeply revealing color photos is also a dedicated pianist and fervent admirer of Bach who eschews most modern things, yet he found something to like about the 1980s Korg synthesizer on which he wrote and recorded the entirety of Muzik. The result is a collection of mini-symphonies that, like his pictures, feel elegantly composed yet contain hidden surprises. [Sean O'Neal]
Grooms, Exit Index
It's safe to assume no other album released this October (or year) will also have its own accompanying guitar-effects pedal, but that's what happens when a band member co-owns pedal company Death By Audio. The "fucked-up-sounding" tremolo pedal, as described by Grooms singer-guitarist Travis Johnson, reflects the pervasive tremolo effect on Exit Index, the band's first since 2015's Comb The Feelings Through Your Hair and first with the same lineup for two consecutive records. Early songs "Magistrate Seeks Romance" and "Turn Your Body" show the band's spectrum: The crunchy, distortion-laden "Magistrate Seeks Romance" recalls Ride's heyday, and "Turn Your Body" floats with airy synths and Johnson's breathy vocals. Pick up the limited-edition pedal and play along. [Kyle Ryan]
GWAR, The Blood Of Gods
As long as anger remains in this world, GWAR will be there, projectile-squirting blood from their prosthetic cocks. On its forthcoming 14th studio album, The Blood Of Gods, GWAR continues to thrash out the soundtrack for a violent, hopeless planet, led by single "Fuck This Place" and a righteous cover of AC/DC's "If You Want Blood (You Got It)." [Kevin Pang]
Aris Kindt, Swann And Odette
Downtempo duo Aris Kindt—a collaboration between producer/performers Gabe Hedrick and Francis Harris—returns with the follow-up to 2015's Floods, one of the more elegantly composed ambient albums of recent years. Swann And Odette doesn't stray too far from Aris Kindt's entrancing formula of deep house textures; dub techno pulses; and layers of washed-out, subliminally felt synths and guitars, delivered with a persistent portent flickering around its gray-blurred edges. [Sean O'Neal]
Lindstrøm, It's Alright Between Us As It Is
Lindstrøm's still best known for his 2008 debut, Where You Go I Go Too, a three-track odyssey of crisp, breezy electro. Since then, he's alternated between exploring much wider, denser instrumentation, as on 2012's Six Cups Of Rebel, and more comfortable returns to the sparkling style of his debut. It's Alright Between Us As It Is marks his first proper record in five years, and it's preceded by an echo-laden space-disco cut carried by Grace Hall's emotive vocal. [Clayton Purdom]
Makthaverskan, III
The Swedish post-punk band Makthaverskan started to gain some more international attention with the 2014 release of its second self-titled album and standout single "No Mercy." That track's power came largely from singer Maja Milner's gut-wrenching introspection, something that bled deeply into the rest of the record as well, but the band's upcoming third album promises to look outward, "chasing hope and understanding in a time when it can seem impossible to find either." [Matt Gerardi]
Margo Price, All American Made
Margo Price's second full-length, All American Made, strengthens her foothold as an emerging Nashville star. Gutsy autobiographical songs are paired with traditional country twang and western swing, and the two released singles are both boot-tapping tunes grounded by Price's clear voice. Her songwriting and straightforward production calls back to when country wasn't hyphenated with -pop, though it's not strictly throwback country, either. This album is also her second on Jack White's Third Man Records, and with that behind her, and with her funny, raw lyrics leading the way, this could be a breakthrough. [Laura M. Browning]
Tegan And Sara, The Con X: Covers
It's an intriguing concept: Turn what's arguably your most artistically ambitious and experimental record over to a bunch of other acts and see what they do with it. Tegan And Sara's 10th-anniversary edition of classic The Con finds every song covered by a different artist, a guest list that includes Ryan Adams, Bleachers, Paramore's Hayley Williams, and more. The initial results are promising, with Chvrches' take on "Call It Off" turning the original acoustic lament into an ambient, haunting dirge. [Alex McLevy]
Julien Baker, Turn Out The Lights
Singer-songwriter Julien Baker stunned with her 2015 debut, Sprained Ankle, which the 18-year-old recorded over the space of a few days with help from a friend. Sparse and haunting, it was one of the year's best, setting the stage for the upcoming Turn Out The Lights. Recorded in her hometown of Memphis at the legendary Ardent Studios, Turn Out The Lights is also spare and haunting, but Baker—again self-producing—expands her palette by building a few songs with piano and adding light strings and other instruments here and there. It's gorgeous, heavy, and once again, excellent. [Kyle Ryan]
Bootsy Collins, World Wide Funk
Intergalactic funkateer Bootsy Collins returns with World Wide Funk, the former James Brown and Parliament-Funkadelic bass player's first solo effort since 2011's Tha Funk Capital Of The World. Collins tells Billboard that he wants the album to "[make] you feel good and sexy, like them old house parties, sharing a Coke and a smile while doing a bump 'n' grind." That seductive vibe is certainly evident on lead single "Worth My While," featuring Kali Uchis trading vocals with Bootsy over deep funk bass and cosmic guitar. [Katie Rife]
John Maus, Screen Memories
Is John Maus serious? That's a question that tends to turn up a lot in reviews of his live shows, especially, where the Ariel Pink collaborator's wild performances run counter to the laptop sterility of his new-wave Muzak. Maus is a smart, bookish guy capable of making music of uncommon gloomy beauty—check "Hey Moon" or "Believer" from his 2011 breakout, We Must Become The Pitiless Censors Of Ourselves—yet he also writes some incredibly dumb lyrics over stuff that sounds like a Casio preset for "Joy Division." The new Screen Memories promises to reignite that debate—and maybe settle it—with songs like "Touchdown" (where Maus literally describes what happens in football) bumping up against hypnotic lead single "The Combine," a Leonard Cohen-esque apocalypse ballad atop an '80s horror theme. [Sean O'Neal]
Smut, End Of Sam-Soon
The Cincinnati band Smut fuses the best parts of hard-charging shoegaze with a muscular early '90s indie-rock roughness, creating songs that are noisy yet hummable. Singer Tay Roebuck's voice is both soaring and sassily off-kilter over the distorted guitars and swirling synths, as though Sonic Youth were covering Veruca Salt while Swervedriver tried to steal their instruments. It's dark and roiling, catchy and cool, and immensely appealing. [Alex McLevy]
Weezer, Pacific Daydream
Rivers Cuomo's fascination with the West Coast has been around since the Blue Album's "Surf Wax America," and Pacific Daydream doesn't show any interest in broadening those horizons. Songs like "Mexican Fender" and "Feels Like Summer" are as attractive yet shallow as a Malibu model who spends all their days working on their tan, and even the "Beach Boys" ode just reminds you how much better Cuomo's inspiration got when they quit writing about the beach. [Gwen Ihnat]
And here are a few of September's best albums
One of this year's best debut albums is also one of its saddest
Hard times demand Worriers' Survival Pop
The Horrors complete their evolution to greatness with V
Recent from these authors
The Takeout's fantasy food draft: Best food mascot
Kevin Pang
"Olive, the other reindeer" and other misheard song lyrics


The internet has opened up new doors for data to be collected, and with new technological tools emerging, it is now very easy to analyze information. But which data do you need, and are you using the right ones to understand your business better?
Having your own business intelligence will give way to more solid insights -- on how a certain incident happened, on why you should be doing this step, and how you can support your business predictions.
Business intelligence should go far beyond measuring analytics or counting the number of clicks. Its goal should focus on larger business opportunities such as market positioning, customer profiling and campaign optimization. After all, data is your friend, and you should know how to bring out its best.


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BREAKING OVERNIGHT: Graham police arrest two teenagers for double homicide of two other teens last month
Breaking NewsCourts & CrimePolice
Graham police have arrested two teenaged boys for the first degree murder of two other teenaged boys on August 25 at the Graham Village Apartments, 901 Hanover Road.
Police obtained secure custody orders (the juvenile equivalent of arrest warrants) for the two boys – a 14-year-old and a 17-year-old – who are each being charged with two counts of first degree murder.
The two murdered teens, both 16-year-old boys, were found on Thursday, August 25 in a wooded area adjacent to the Graham Village Apartments where police had responded the night before to an 18-year-old who had received a gunshot wound, ostensibly in the parking lot of the apartment complex.
Both suspects were taken into custody on Tuesday night without incident. They will be held at juvenile detention facilities, according to the Graham police.
Police say the investigation is still active and ongoing, but in the meantime issued a statement of thanks to the following agencies for their assistance thus far with the investigation: the NC State Bureau of Investigation, Burlington Police Department, Alamance County Sheriff's Office, Durham Police Department, the NC Medical Examiner's Office, and the Alamance County District Attorney's Office.
Police still ask that anyone with information about this incident to call 336-570-6711 and speak directly to Captain Duane Flood with the Criminal Investigations Division. The public can also leave information anonymously by contacting Alamance County Crime Stoppers at 336-229-7100.
See earlier coverage: https://alamancenews.com/two-teenaged-boys-found-shot-dead-in-woods-near-apts-where-another-teen-had-been-wounded-by-gunshot/
Commissioners OK $1.8M incentives package for Calif. co. that sterilizes medical equipment to build Burlington facility
Burlington city council joins commissioners in proffering incentives for sterilization company
Burlington police seek suspect in recent assault
Police attribute arrest of robbery suspect to public's tips
Woman arrested for attack on convenience store clerk
By Bob Sutton Special to The Alamance News Now that Elon's losing streak ended and the Phoenix experienced the good vibes again, maybe there's an appreciation...
Area men receive sports honors
Thurs. a.m. Williams lockdown based on false report of shooter on...
Elon takes FCS playoff spot, will head to Furman next Sat.
Republicans sweep most Alamance County races


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SEC Adopts Amendments to Modernize Shareholder Proposal Rules
On September 23, 2020, the Securities and Exchange Commission (SEC) adopted amendments to modernize Rule 14a-8, which governs the process for shareholder proposals to be included in a company's proxy statement. The amendments change the shareholder proposal submission requirements under Rule 14a-8 by: (1) changing the eligibility criteria that a shareholder must satisfy to include a shareholder proposal in a company's proxy statement; (2) increasing the levels of required shareholder support a proposal must receive to be eligible for resubmission at the same company's future meetings; and (3) requiring specified documentation for a representative to submit a proposal on behalf of a shareholder.
Currently a shareholder-proponent must hold at least $2,000 or 1 percent of the company's securities for at least one year to submit a shareholder proposal under Rule 14a-8(b). The amendments will delete the "1% of the company's securities" threshold altogether and replace the "$2,000 for at least one year" requirement with three alternative continuous ownership thresholds with three alternative thresholds of at least:
$2,000 of the company's securities for at least three years;
$15,000 of the company's securities for at least two years; or
$25,000 of the company's securities for at least one year.
Under the final rule's transition provision, however, these rule changes will not impact shareholders that meet the currently required threshold and continue to hold their shares through the date the shareholder submits a shareholder proposal to the company. Such shareholders will be able to rely on the $2,000/one-year ownership threshold for proposals submitted for an annual or special meeting to be held prior to January 1, 2023. In attempting to satisfy the shareholding requirements, shareholders will not be allowed to aggregate their holdings with those of another shareholder or group of shareholders to meet a minimum ownership threshold necessary to be eligible to submit a proposal. Shareholders may, however, co-file or co-sponsor proposals as a group if each shareholder-proponent separately meets one of the eligibility requirements.
In addition to the changes in ownership thresholds, the amendments will now require a shareholder proponent to state that he or she is able to meet with the company, either in person or via teleconference, no less than 10 calendar days, but no more than 30 calendar days, after submission of the shareholder proposal. The shareholder proponent must provide contact information as well as specific business days and times that the shareholder is available to discuss the proposal with the company. The contact information and availability must be that of the shareholder-proponent, not a designated representative, although a representative may participate in the meeting between the shareholder and the company regarding the proposal.
Resubmission Criteria
Under Rule 14a-8(i)(12), a shareholder proposal is excludable from a company's proxy materials if (1) it addresses substantially the same subject matter as a proposal, or proposals, previously included in the company's proxy materials within the preceding five calendar years, (2) the most recent vote occurred within the preceding three calendar years and (3) the most recent vote was below a specified threshold. The SEC amended Rule 14a-8(i)(12) to replace the levels of shareholder support a proposal must receive to be eligible for resubmission at the same company's future shareholder meetings from 3 percent for matters voted on once, 6 percent for matters voted on twice and 10 percent for matters voted on three or more times in the last five years to 5 percent, 15 percent, and 25 percent, respectively.
Notably, the SEC did not adopt the proposed "momentum requirement" that had been part of the proposed rules. This requirement would have permitted exclusion of a proposal dealing with substantially the same subject matter as proposals previously voted on by shareholders three or more times in the preceding five calendar years that would not otherwise be excludable under the 25 percent threshold if (i) the most recently voted on proposal received less than a majority of the votes cast and (ii) support declined by 10 percent or more compared to the immediately preceding shareholder vote on the matter.
Representative Documentation
The SEC's amendments also make important updates to the rule with regard to the role of representatives in submitting shareholder proposals. Under amended Rule 14a-8(b), if a shareholder chooses to designate a representative to submit a proposal on its behalf, the shareholder must provide the company with a written statement evidencing the representative's authority to act on its behalf and addressing the shareholder's identity, role and interest in the proposal. Specifically, a shareholder-proponent using a representative to submit a shareholder proposal on its behalf must provide the company with written documentation that:
identifies the company to which the proposal is directed;
identifies the annual or special meeting for which the proposal is submitted;
identifies the shareholder submitting the proposal and the shareholder's designated representative;
includes the shareholder's statement authorizing the designated representative to submit the proposal and otherwise act on the shareholder's behalf;
identifies the specific topic of the proposal to be submitted;
includes the shareholder's statement supporting the proposal; and
is signed and dated by the shareholder.
The amended rules also clarify that a shareholder-proponent that is an entity need not comply with this requirement as long as the representative's authority to act on the shareholder's behalf is apparent and self-evident such that a reasonable person would understand that the agent has authority to submit the proposal and otherwise act on the shareholder's behalf.
The amended rule can be found here. The amendments will be effective 60 days following publication in the Federal Registrar and the final amendments will apply to any proposal submitted for an annual or special meeting to be held on or after January 1, 2022, subject to the special transition period described above.
Christopher J. Bellini
cbellini@cozen.com


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Book Slut: Sex, Drugs, Art and Oakland In Brontez Purnell's Johnny Would You Love Me If…?
Pilar Reyes September 17, 2015 September 17, 2015
Everyone in Oakland knows Brontez. If you don't know Brontez, then you don't really know Oakland, because he's somewhat of a legend around these parts. From his days playing punk shows at The Gilman in the locally lauded, scantily clad, mostly pop outfit Gravy Train, to his recent notoriety with the Younger Lovers, his dance performances and many other artistic endeavors and incarnations of bands, Brontez has always been a man about town. But beyond his creative pursuits, what makes Brontez more scintillating and more engaging than your average scummy Oakland hipster artist wanna be is the ease with which Brontez is Brontez: a burning, brilliant, black boy in our streets.
Now, if you don't know Brontez personally, maybe I should back it up a little and explain what I mean when I say "Brontez." Brontez is a loud mouthed gay boy from Alabama with punk rock day dreams and an insatiable yen to fuck. Brontez is usually drunk, and if you know him, you know that he's always the life of the party. I guess it's up to him whether or not the party is careening with jolly good times or riddled with bad coke trips and talking shit and starting fights. Everyone I know (or, rather everyone I have ever fucked) has a Brontez story (about how Brontez wants to bang them. In the words of Brontez: DUH BITCH). But, more importantly, Brontez has a story about everyone I know, and, thanks mostly to his commitment to consistent artistic output, some of those stories have been documented, written down, and published in his new novella Johnny Would You Love Me If…(My Dick Were Bigger?).
In Johnny Would You Love Me If…, the fecklessness with which Brontez lives his life is revealed in a series of vignettes that congeal over topics that are all too familiar to those of us disenfranchised, underemployed, disaffected youth: trivial casual sex, our tepid jobs, STDs, should we use condoms?, being a misfit, poetry, married men, therapists, tour diaries, dance routines, poetry, magic, black outs, mom, broken hearts and hangovers. But Brontez tells these stories with the aplomb of someone who has gone to the dark side, realized he belonged there, and then got bored with the dark side and tried to find the dark side's dark side. His prose is comfortable as he ambles through stories about anonymous bath house fuckery, indifferently discussing unprotected sex, and poo pooing the overly sensitive types who balk at his feigned nonchalance about being HIV positive.
Brontez's series of vignettes adds up to an image of life in the Bay Area that too many people have never seen and perhaps will never seen due to the demographic shift of the people out here. While Johnny Would You Love Me If… lacks a cohesive plot line, it reads with the scattered continuity that is reflective of the almost schizophrenic mind set of being a young artist trying love and live in this messy city of ours. To be young (or aging) in the Bay Area while trying to be an artist means that you are many things at once: a musician, a fucker, a lover, a dancer, a writer, a drunk, a criminal. Brontez even goes so far as to poke fun at people who see his lifestyle as something to fetishize, but with his book we all have the opportunity to look at this lifestyle and gawk at the pure artistry with which Brontez lives his life. It can be fascinating for some, and familiar for others.
One of Brontez's central themes is being HIV positive and having unprotected sex. While this can be a grim topic, Brontez manages to talk about it in a way that eschews the typical tragic trappings that the HIV epidemic was always painted with. Brontez is honest about his experience, lamenting the patronizing tone and condescending attitudes of people's reaction to his status. He is honest about pretending to love people and pretending to care, but he revels in the heart break, examining every inch of the reality of not being loved back. He looks at long term relationships that have no emotion, and the fleeting ones like whirlwinds that always end with broken hearts. He expounds on vengeance, on jealousy, and not giving a fuck when it comes to his multitude of lovers. He lobs gems of wisdom into giggly stories that come off as comedy but pierce with wit. When it comes to bug chasing, Brontez gracefully lets us know that, "the bug chaser says 'I'd rather have it so I can stop worrying about it.'" This is called extreme. Looking back (with glasses) at certain jacked decisions in the past, I think it's also extreme to say "I wanna do hella sketchy shit and don't want anything bad to happen." Damn.
Stories start out with the self-referential "I was an American Waiter bored at work" and end up in a self-critical expose of either heartless or too heart wrenching sex. His (very successful) stab at imitating the Southern Gothic style is exemplary of Brontez's ability to blend well-structured, eloquent writing principles with his wry humor and sneering perspective on taboo subjects such as molestation and being the so-called "Satan worshipping California boy" in a family full of Alabama Christians. He expounds on the self loathing chagrin of writing class and his constant battles with his therapist who is full of grad school cliches. He addresses issues of class and race through a sexualized, drugged up lens that leaves the proselytizing (and often alienating) politics out of it. Brontez captures his own life as it comes up emetically in chunks of sexuality, ennui, and self-immolating frustration, but he also captures a slice of Oakland that is quietly diminishing and here only for the moment.
Brontez is unabashed, and, unlike most of us, can admit that he just wants people to like him. Well, we do like Brontez, and as he says in his book, yeah, his stories are on fire. Get a slice of life in Oakland and life as Brontez and buy his book from Last Gasp.
Categories Art Slut♦Book Slut
Pilar Reyes
Pilar Reyes lives in Oakland, California, and runs the blog Fuck Feast. Whenever she's not thrifting or writing, she's doing bad things.
Sex Advice For College Freshman — Or, The University Sex Talk We Wish We Had
"Don't": Video Premiere From Occult Pop Duo A Place Both Wonderful And Strange
The Lifestyle: A Night In Mexico City's Oldest Swingers' Club


Factory set to John's personal settings, the Dunlop JP95 Wah features all the controls he used to find his Cry Baby voice: Volume to add gain, Q to shape the width of the effect, and a 6-band EQ to shape the tone of the wah sound, from 100Hz to 3.2KHz. Want to fine-tune the sound to your own preference? Just take off the bottom plate and tweak away.
The Dunlop John Petrucci Signature Cry Baby Wah comes in a sturdy, road-ready housing with custom smoked chrome finish and JP shield logo tread.
This pedal is everything and more I ever wanted from a wah. It is so expressive it sick. Love that you can customize the eq on it to find that perfect tone. And it looks pretty cool too. You won't be disappointed with this one. And the guys at The Guitar Sanctuary will never let you down, even when you're 1ooo miles away!!!!


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Lidija Dimkovska (; * 11. August 1971 in Skopje, Jugoslawien) ist eine nordmazedonische Dichterin, Schriftstellerin und Übersetzerin.

Werdegang
Dimkovska wuchs bei ihren Großeltern in Šlegovo in der nordmazedonischen Gemeinde Kratovo auf. Sie studierte vergleichende Literaturwissenschaften an der Universität Skopje. Nach dem Abschluss ihres Studiums der Vergleichenden Literaturwissenschaft in Skopje zog sie nach Rumänien und unterrichtete an der Universität von Bukarest mazedonische Sprache und Literatur. Zeitgleich promovierte sie dort in rumänischer Literatur über den Poeten und Essayisten Nichita Stănescu. Anschließend wurde sie Mitarbeiterin des Forschungszentrums der Slowenischen Akademie der Wissenschaften und Künste (ZRC SAZU) und lehrte Weltliteratur an der Universität in Nova Gorica.

Dimkovska schreibt Prosa und Lyrik. Mit dem Schreiben von Gedichten begann sie während ihrer Studienzeit. Für ihren ersten Gedichtband Rožbi od istok (1992, Sprösslinge des Ostens) erhielt sie 1992 den mazedonischen Preis für das Debüt des Jahres. Seit 2004 veröffentlicht sie auch Romane. Ihre Werke kennzeichnen skurrile und surreale Elemente, hinzu kommen Metaphern, die die Autorin aus auf den ersten Blick widersprüchlichen Elementen zusammensetzt. Oft kombiniert sie mythologische oder religiöse Symbolik mit Erscheinungen aus der modernen Technologie. Thematisch beschäftigt sich Dimkovska mit der kritischen Analyse kultureller und geschlechtlicher Identitäten, allen voran der modernen osteuropäischen Gesellschaft, bringt dabei aber auch humoristische Elemente mit ein.

Als Autorin wurde Dimkovska international bekannt und absolvierte mehrere Auslandsauftritte und -aufenthalte, dazu zählen u. a. die Teilnahme an der Balkan-Nacht 2010 im Salzburger Literaturhaus, ein Writer in Residence-Aufenthalt in Salzburg im Jahr 2012 als Gewinnerin des H. C. Artmann-Literaturstipendiums sowie eine Buchwerbetour durch die USA. Dimkovskas literarische Werke wurden in zahlreiche Sprachen übersetzt, u. a. ins Deutsche, Englische, Slowenische, Bulgarische, Polnische, Kroatische, Tschechische, Serbische und Slowakische. Die bisher in deutscher Sprache erschienenen Übersetzungen stammen von Alexander Sitzmann, ihr Übersetzer ins Slowenische ist Aleš Mustar. Auf Dimkovskas Auszeichnung für das Debüt des Jahres folgte eine Reihe rumänischer und internationaler Auszeichnungen, wie z. B. der Literaturpreis des Mazedonischen Schriftstellerverbands für das beste Prosawerk des Jahres, die rumänischen Lyrikpreise Poesis und Tudor Arghezi, die im Rahmen des Lirikonfests vergebene Čaša nesmrtosti, der deutsche Hubert-Burda-Preis für osteuropäische Lyrik, der Anerkennungspreis zum Europäischen Jahr des Kulturerbes und der Europäische Lyrikpreis. Dimkovska ist eine produktive Übersetzerin slowenischer und rumänischer Literatur ins Mazedonische; zu den von ihr übersetzten slowenischen Autoren zählen u. a.: Jana Bauer, Andrej Blatnik, Aleš Debeljak, Drago Jančar, Svetlana Makarovič, Brane Mozetič, Boris Pahor, Tomaž Šalamun und Suzana Tratnik.

Sie ist Mitglied des Verbands slowenischer Literaturübersetzer und des Slowenischen Schriftstellerverbands.

Publikationen

Prosa
Skriena kamera (Versteckte Kamera). Skopje: Magor, 2004, ISBN 9989144133.
Rezerven život (Ersatz-Leben), Roman, 2012, ISBN 9786084525585
 deutsche Übersetzung: Reserveleben, aus dem Mazedonischen übersetzt von Alexander Sitzmann. Ljubljana: Društvo slovenskih pisateljev, 2021, ISBN 978-3-85435-996-8
No-Ui. 2016. Skopje: Ili-Ili.
Koga zaminav od "Karl Libkneht". 2019. Skopje: Ili-Ili.

Lyrik

 Rožbi od istok. 1992. Skopje: Eigenverlag. (gemeinsam mit Boris Čavkovski)
 Ognot na bukvite. 1994. Skopje: Makedonska kniga.
 Izgrizani nokti. 1998. Skopje: Kultura.
 Nobel protiv Nobel. 2001. Skopje: Eigenverlag.

 Anständiges Mädchen, aus dem Mazedonischen übersetzt von Alexander Sitzmann, 2010, ISBN 978-3-902113-73-3
 Crno na Belo. Skopje: Ili-Ili, 2016 ISBN 9786084770275
 deutsche Übersetzung: Schwarz auf weiß. Gedichte, aus dem Mazedonischen übersetzt von Alexander Sitzmann. Köln: parasitenpresse, 2019, ISBN 978-3-947676-44-6

Auszeichnungen
 2009: Hubert-Burda-Preis für junge osteuropäische Lyrik
 2012: Internationaler Gedichtpreis Tudor Arghezi in Rumänien
 2012: H. C. Artmann-Stipendium (Salzburg)
 2013: Literaturpreis der Europäischen Union
 Literaturpreis des mazedonischen Schriftstellerverbandes (zweimal: für die Romane Skriena kamera und Rezerven život)

Einzelnachweise

Romanist
Hochschullehrer (Universität Bukarest)
Lyrik
Literatur (Mazedonisch)
Übersetzer aus dem Rumänischen
Übersetzer aus dem Slowenischen
Übersetzer ins Mazedonische
Autor
Nordmazedonier
Geboren 1971
Frau

redpajama_set_name: RedPajamaWikipedia


Mobile wallet applications are new and promising mobile payment technologies. While researchers have started to explore adoption models in this domain, they have taken a generic approach to understanding customers' perceived usefulness of this technology. In this research-in-progress paper, we seek to develop a new, goal-oriented construct to understand the perceived usefulness of the mobile wallet from a consumer's perspective, which should provide a richer meaning to both academic and practitioner communities.


http://www.NewsAndOpinion.com | NEW YORK CITY The buzz among the oh-so-hip in Gotham is about a new play called "Omnium Gatherum," translated with ironic understatement to mean "a collection of peculiar souls." An assorted group of fashionable men and women gather at a chic dinner party to discuss the latest "ins" and "outs," "ups" and "downs," rites and wrongs in the post-September 11 world. The characters are the smug and arrogant elite who care more about what they say than what they hear.
Imaginea Martha Stewart-like figure as hostess for a party of ideologues where isms are tossed about like the different lettuces in an organic salad — Marxism, capitalism, feminism, sexism, terrorism. Many of the characters are based on real-life celebrity intellectuals, but the food for the tummy is more important than food for thought. The hostess takes the cake, literally. "I'm aware of my wealth," she says. "I used to be middle-class. I know how that feels."
The menu includes wild salmon from the Columbia River, "freshly blessed lamb" which is "a favorite among moderate Shi'ites," and a "tower of sliced ruby-crescent fingerlings" that most of us call "potatoes." This is haute cuisine for those who aim at political sensibilities below the belt(way).
"A lively, contentious debate is the heart and soul of every dinner party," says the hostess, as the sparks begin to fly. "But I do think we should wait until the main course is served, don't you?" The play mocks first the Manhattan dinner party, but the satire extends to elite newsmakers everywhere — the politicians, academics, pundits and intellectuals more concerned with performance than substance, who polarize everything because that's where the ratings are.
While the guests exert an effort to exude profundity, they glide over the polished surface, relying on rhetoric as empty as the crystal decanter from which their fine wine was poured. Information overwhelms, but as one character in this play observes with the chilling certainty that links him to an empathetic audience: "We all got this on the Internet!"
When Marshall McLuhan famously said, "The medium is the message," he was talking about the way television and movie images influence thought processes. After the invention of the printing press, we studied by reading language as written in books, but that began to change as television images trumped the thousand written words. With virtual reality, visual pathways and iconic doorways, we're subject now to a different medium and message that poses a subset of dangers we're only beginning to explore. If television appeals to the short attention span and the Sesame Street approach to learning, the Internet exposes us to a bombardment of even faster and often more superficial ways of gathering information. Computers change the way we write, talk, think and persuade.
In an essay in the New Yorker critiquing Microsoft Word, the ubiquitous word-processing program, Louis Menand warns that we're played for fools by a microchip and held hostage by a system overloaded with icons, menus, buttons and incomprehensible Help windows. A student can turn in a term paper, he writes, that "is now 65 elegantly formatted laser-printed pages, including a four-color cover page and scanned-in illustrations." But a question remains: What has he learned?
My techie friends tell me that we're on the brink of a mind makeover. Neuroscientist Susan Greenfield, a professor of pharmacology at Oxford University, predicts that computers combined with smart drugs will dramatically change human nature as we know it. Intelligent machines will bypass our brains and do most any informational task better than we can do ourselves.
In "Tomorrow's People: How 21st-Century Technology is Changing the Way We Think and Feel," she becomes a Jeremiah of cyberspace. "The private ego is the most precious thing we have," she writes," and it is far more vulnerable than ever before."
Let's hope she's wrong. Whatever difficulty the private ego causes us today, it's surely better than a mentality standardized by data-processing machines. So, pass the tower of sliced ruby-crescent fingerlings and freshly blessed lamb, and then log off. The Help button can't help.


I have a general question for all of you wise ones out there. On Sunday, here in Chicago I was Kayaking with a heat index of over 100. On the Lake it was no doubt somewhat less than that. In total I kayaked about 8-10 miles on Sunday. While I was out on the water I came across some good friends who were out sailing. They hove to and I went aboard for lunch. It is normal for me to have one beer with lunch. As has been my practice I drink about two glasses of water or sport drink after the beer. Then I drink fluids as I paddle following lunch.
However, on Sunday I had three beers. I drank about two glasses of water and then had sport drink while kayaking. At the end of my kayaking day, I found myself clearly dehydrated, and I consumed large amounts of fluid at home. I began to get excessively sore and it really took about 12 hours into Monday before I felt normal.
Does any one know if there is a problem after using alcohol to then use a sport drink to try to keep hydrated? Is it possible that I made my situation worse and would have been better off drinking water? Does anyone have any info on this? Please don't tell me not to drink any beer while kayaking, that is not about to happen.


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Shrewsbury Town v Portsmouth
Important information for Saturday's match
Shrewsbury Town v Portsmouth 27.4.13
Shrewsbury Town would like to appeal to both sets of supporters to remain in their seats at the final whistle of Saturday's last game of the season v Portsmouth. Both sets of players and coaching staff would like to acknowledge the support given them throughout the season and this can only be achieved if all supporters stay off the field of play at the final whistle.
We hope all supporters have an enjoyable day and would hate it to be marred by supporters going on to the pitch requiring appropriate action to be carried out. Thank you in advance for your co-operation


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Sparks company Ebara appoints new CEO
Ebara International Corp. announced it appointed Tadashi Urata its CEO.
Sparks company Ebara appoints new CEO Ebara International Corp. announced it appointed Tadashi Urata its CEO. Check out this story on rgj.com: http://on.rgj.com/1iFn8P0
Jessica Garcia, jigarcia@rgj.com Published 6:24 p.m. PT April 29, 2014
Sparks' Ebara International Corp. has announced the appointment of Tadashi Urata as its new CEO. (Photo: Provided by Ebara International Corp. )
Sparks' Ebara International Corp. has announced the appointment of Tadashi Urata as its new CEO.
Urata has been with Ebara Corp. 32 years. He has served as vice president of engineering at Ebara Fluid Handling in South Carolina, general manager of the Components Products Department at the Fujisawa plant in Japan and most recently was president of Ebara Technologies in California.
"I have received tremendous support in my return to EIC," Urata said in a statement. "Ebara Corp. has always believed that having a talented, motivated workforce is the most important key to building a successful business and EIC is no exception. EIC has a great deal of opportunity to grow and expand in its various segments and the future looks very bright. I am looking forward to working with the EIC family and contributing to its continued success."
Ebara International is an American subsidiary of Ebara Corp., Japan. Representing the North American portion of the global pump and fluid machinery manufacturer, EIC encompasses four divisions, including Cryodynamics, Fluid Handling, Hood EIC LLC and North American Custom Pump.
Read or Share this story: http://on.rgj.com/1iFn8P0


text:
Leia piffardi är en tvåvingeart som beskrevs av Edwards 1925. Leia piffardi ingår i släktet Leia och familjen svampmyggor. Inga underarter finns listade i Catalogue of Life.

Källor

Svampmyggor
piffardi


WASHINGTON, DC — Low-frequency vibrations of the Ross Ice Shelf are likely causing ripples and undulations in the air above Antarctica, a new study finds. Using mathematical models of the ice shelf, the study's authors show how vibrations in the ice match those seen in the atmosphere, and are likely causing these mysterious atmospheric waves.
Like all floating ice, about 90% of the Ross Ice Shelf is hidden underwater. In some places, the ice is as much as several hundred meters thick.
"If atmospheric waves are generated by ice vibrations, by rhythmic vibrations of ice—then that carries a lot of information of the ice shelf itself," said Oleg Godin, a professor at the Naval Postgraduate School in Monterey, California, and lead author of the new study, published in the Journal of Geophysical Research: Space Physics, a journal of the American Geophysical Union.


How can you not just comment about how sick this cover is? Well it is sick. Haemi Jang brings the perfect colors and imagination into this series. I can't get enough of his rainbow horror. It is hard to compare this issue with last month's. I don't think anything could get that good and just perfectly gory. Although it isn't as much of an explosion, this issue hit right where it needed to. The issue picks up where it left off last time. I love how Next Testament is taking such a short amount of time in each issue. I touched on this last review, but I really dig the whole time thing here.
Tristan and his gal pal are about to crash on a plane ride. This is all orchestrated by God. Ok I am just going to throw this out there, but I kind of like this God figure. Clearly, he is mental, but he is so interesting. The way he words things after killing millions of people makes him look like the good guy. It is amazing, and I find myself sometimes captivated by his allure. Anyway, God has stop all aviation movement and then proceeds to take away phone function as well. Julian thinks it is best that he take God to Hollywood, since our world revolves around this heavily. God is disappointed to say the least. This is one of those times that I agree with him. His words flow so nicely and describe Hollywood perfectly. I don't agree with his actions but at least he has strong motives.
Tristan and Elspeth survive the crash. They are still trying to make their way to Providence in search of the library. They think this will hold the key to God. With their resources becoming low, I think the two may be a while in succeeding at this. I find it strange how invested these two are with each other and this God. First, the God just because he is so powerful that I feel like most people would try to hide if they knew the truth. Instead these two are on some sort of mission to destroy him. Secondly, each other because if I was Elspeth I would say peace out and be done with Tristan. His family issues are beyond incapable to handle.
It still is crazy how little this comic does in an issue, but the massive amount of things it has to say. I would love to pick Clive Barker's brain on the comic and get some sort of insight to where we are heading. I guess I shouldn't say where we are headed, because the people in this comic are headed for death. That I am certain, but how we get there is the real question.