text:
package com.facebook.buck.rules.macros;

import com.facebook.buck.event.PerfEventId;
import com.facebook.buck.event.SimplePerfEvent;
import com.facebook.buck.model.BuildTarget;
import com.facebook.buck.model.MacroException;
import com.facebook.buck.parser.BuildTargetPatternParser;
import com.facebook.buck.query.NoopQueryEvaluator;
import com.facebook.buck.query.QueryBuildTarget;
import com.facebook.buck.query.QueryException;
import com.facebook.buck.query.QueryExpression;
import com.facebook.buck.query.QueryTarget;
import com.facebook.buck.rules.BuildRuleResolver;
import com.facebook.buck.rules.CellPathResolver;
import com.facebook.buck.rules.TargetGraph;
import com.facebook.buck.rules.query.GraphEnhancementQueryEnvironment;
import com.facebook.buck.rules.query.Query;
import com.facebook.buck.util.HumanReadableException;
import com.facebook.buck.util.MoreCollectors;
import com.google.common.base.CharMatcher;
import com.google.common.base.Preconditions;
import com.google.common.collect.ImmutableCollection;
import com.google.common.collect.ImmutableList;
import com.google.common.collect.ImmutableSet;
import java.util.Optional;
import java.util.Set;
import java.util.stream.Stream;

/** Abstract base class for the query_targets and query_outputs macros */
public abstract class QueryMacroExpander<T extends QueryMacro>
    extends AbstractMacroExpander<T, QueryMacroExpander.QueryResults> {

  private Optional<TargetGraph> targetGraph;

  public QueryMacroExpander(Optional<TargetGraph> targetGraph) {
    this.targetGraph = targetGraph;
  }

  private Stream<BuildTarget> extractTargets(
      BuildTarget target,
      CellPathResolver cellNames,
      Optional<BuildRuleResolver> resolver,
      T input) {
    String queryExpression = CharMatcher.anyOf("\"'").trimFrom(input.getQuery().getQuery());
    final GraphEnhancementQueryEnvironment env =
        new GraphEnhancementQueryEnvironment(
            resolver,
            targetGraph,
            cellNames,
            BuildTargetPatternParser.forBaseName(target.getBaseName()),
            ImmutableSet.of());
    try {
      QueryExpression parsedExp = QueryExpression.parse(queryExpression, env);
      return parsedExp
          .getTargets(env)
          .stream()
          .map(
              queryTarget -> {
                Preconditions.checkState(queryTarget instanceof QueryBuildTarget);
                return ((QueryBuildTarget) queryTarget).getBuildTarget();
              });
    } catch (QueryException e) {
      throw new HumanReadableException(e, "Error executing query in macro for target %s", target);
    }
  }

  Stream<QueryTarget> resolveQuery(
      BuildTarget target,
      CellPathResolver cellNames,
      final BuildRuleResolver resolver,
      String queryExpression)
      throws MacroException {
    GraphEnhancementQueryEnvironment env =
        new GraphEnhancementQueryEnvironment(
            Optional.of(resolver),
            targetGraph,
            cellNames,
            BuildTargetPatternParser.forBaseName(target.getBaseName()),
            ImmutableSet.of());
    try (SimplePerfEvent.Scope ignored =
        SimplePerfEvent.scope(
            Optional.ofNullable(resolver.getEventBus()),
            PerfEventId.of("resolve_query_macro"),
            "target",
            target.toString())) {
      QueryExpression parsedExp = QueryExpression.parse(queryExpression, env);
      Set<QueryTarget> queryTargets = new NoopQueryEvaluator().eval(parsedExp, env);
      return queryTargets.stream();
    } catch (QueryException e) {
      throw new MacroException("Error parsing/executing query from macro", e);
    }
  }

  @Override
  public Class<QueryResults> getPrecomputedWorkClass() {
    return QueryResults.class;
  }

  @Override
  public QueryResults precomputeWorkFrom(
      BuildTarget target, CellPathResolver cellNames, BuildRuleResolver resolver, T input)
      throws MacroException {
    String queryExpression = CharMatcher.anyOf("\"'").trimFrom(input.getQuery().getQuery());
    return new QueryResults(resolveQuery(target, cellNames, resolver, queryExpression));
  }

  abstract T fromQuery(Query query);

  @Override
  protected final T parse(
      BuildTarget target, CellPathResolver cellNames, ImmutableList<String> input)
      throws MacroException {
    if (input.size() != 1) {
      throw new MacroException("One quoted query expression is expected");
    }
    return fromQuery(Query.of(input.get(0)));
  }

  abstract boolean detectsTargetGraphOnlyDeps();

  @Override
  public void extractParseTimeDepsFrom(
      BuildTarget target,
      CellPathResolver cellNames,
      T input,
      ImmutableCollection.Builder<BuildTarget> buildDepsBuilder,
      ImmutableCollection.Builder<BuildTarget> targetGraphOnlyDepsBuilder) {
    extractTargets(target, cellNames, Optional.empty(), input)
        .forEach(
            (detectsTargetGraphOnlyDeps() ? targetGraphOnlyDepsBuilder : buildDepsBuilder)::add);
  }

  protected static final class QueryResults {
    ImmutableList<QueryTarget> results;

    public QueryResults(Stream<QueryTarget> results) {
      this.results = results.collect(MoreCollectors.toImmutableList());
    }
  }
}


text:
So not to put too fine a point on it but its been a long day at work, no strike that it has been a long week at work. And while I must work by the sweat of my brow it has been extra sweaty this week. I hope to have something this Saturday. Stay tuned.
Earworm Wednesday: A Mighty Fortress Is Our God ~Matt Boswell
Last Sunday in some churches was Reformation Sunday honoring the Protestant Reformation and Martin Luther nailing on the ninty-five theses on All Saints Church in Wittenberg Germany in 1517. Because of this I thought this version of Luther's famous hymn would be appropriate for today.
Movie Review: The Philadelphia Story
Producer: Joseph L. Mankiewicz
Director: George Cukor
Writers: David Ogden Stewart, Waldo Salt
Cast: Cary Grant, Katherine Hepburn, James Stewart, Ruth Hussey, John Howard, Virginia Wiedler, Roland Young, Mary Nash, and John Halliday.
Plot: A Philadelphia socialite, Tracy Lord (Katherine Hepburn) wedding plans are complicated by the arrival of her ex-husband , C.K. Dexter Haven(Cary Grant) and a tabloid photographer (Ruth Hussey) and reporter (James Stewart) who have crashed the wedding to get exclusive pictures and stories of the event. To make matters worse the socialite's father (John Halliday) has been involved with a showgirl and the editor of the tabloid threatens to expose the father's philandering unless they can take pictures of the nuptials.
Complicating matters the presence of C.K. Dexter Haven is causing Tracy to have second thoughts about her upcoming marriage. Mostly because her fiance, George (John Howard), is treating her like a goddess on a pillar, when she wants to be treated like a real woman. The night of the engagement party Tracy drinks too much, for the second time in her life, and ends up with the reporter, Mike (James Stewart) and takes a dip in the pool with him. The cold water and liqueur knocks her out and Mike being a gentleman carries her to her room only to meet George and C.K. Dexter Haven.
George is outraged and to forestall any unpleasantness Dexter punches Mike and knocks him out. The next day with aching heads by many George delivers an ultimatum.
This is in my humble opinion one of the best comedies of the era. Both Grant and Hepburn are sublime in their roles as former spouses who still have love for each other. James Stewart is the perfect sounding board for both of them. Now this was remade into a musical comedy called High Society with Bing Crosby, Grace Kelly, Frank Sinatra, and Celeste Holms. But while I like High Society, especially seeing Louis Armstrong sing and play in the movie, I think the Philadelphia Story is the better movie.
I give this movie five stars don't wait go out and rent it or buy for an excellent movie night.
Q. 56 What do you believe concerning "the forgiveness of sins"?
A. I believe that God, because of Christ's atonement, will never hold against me any of my sins nor my sinful nature which I need to struggle against all my life. Rather, in his grace God grants me the righteousness of Christ to free me forever from judgment.
Ps. 103:3-4, 10, 12; Mic. 7:18-19; 2 Cor. 5:18-21; 1 John 1:7; 2:2
Rom. 7:21-25
John 3:17-18; Rom. 8:1-2
Frenetic Friday Night
Let me extend a welcome to the new readers of the blog. I am glad you've decided to stop by.
First from PJ Media a bit of science and theology:
And lest you think I am pulling your leg you can read about the experiment here
One further comment on this particular byte of information. It is always easy for those who hold to a materialistic worldview to reduce faith, and belief down to chemical reactions in the brain. What they haven't done is explain why one set of chemical reactions are more true than another one. There is no right or wrong with chemical reactions they just are. But, Christians see all of us as image bearers of God and belief and faith is a response to the truth of what God has revealed and not just a chemical reaction.
Do you watch reality television? The nothing really "real" about reality television, but there is one that I must confess I've watched a time or two. It's called Chopped. Chef's are given a basket of ingredients and told to make various courses with the ingredients. And the ingredients usually include something pretty outlandish like butter beans, ostrich egg, and crème de mint. Now make breakfast.
So the Federalist had a recent article about a North Carolina bar holding a fund raiser for Planned Parenthood. The theme? Chopped.
Think about that, a fund raiser for a company whose main purpose is to chop up babies into parts having a theme called "Chopped" it is sickening. Federalist: NC Bar fundraising for Planned Parenthood
And now something completely different.
Have you seen this? This guy builds a house using primitive tools, yes I know that really doesn't sound too impressive. Well how about he builds a house, a kiln, and makes his own roof tiles, using just primitive tools? You had me at roof tiles.
Now that is reality television. See you next week.
Earworm Wednesday: Alan Doyle ~ Take Us Home
So this tune comes from Alan Doyle's So Lets Go album. I was introduced to it on the Canadian TV show Republic of Doyle, and no there isn't any relation to the singer as far as I know. But it's still rattling around in my head so it seems appropriate that it is the song for today's earworm.
Balcony curtain slightly open.
OK so this is a late post but I did try to watch Noah, the Russell Crowe train wreck. It was on my new movies queue on Hulu. But I have to be honest I could only watch fifteen minutes before I turned it off. I could feel my blood pressure rise as I watched this fiction being played out and seeing how they used every gnostic source but ignored the original and I was getting angry. But when Russell Crowe blesses his son using the skin of the snake I said that was enough.
So Noah is a no.
Q. 55 What do you understand by "the communion of saints"?
A. First, that believers one and all, as members of this community, share in Christ and in all his treasures and gifts. Second, that each member should consider it a duty to use these gifts readily and cheerfully for the service and enrichment of the other members.
Rom. 8:32; 1 Cor. 6:17; 12:4-7, 12-13; 1 John 1:3
Rom. 12:4-8; 1 Cor. 12:20-27; 13:1-7; Phil. 2:4-8
Buckle up boys its going to be a bumpy ride.
It's past due for a Religion of Peace update.
From October 1st's Christian Aid Mission comes the report of eleven Christian aid workers and one twelve year old boy near Aleppo Syria were crucified and beheaded by ISIS.
The indigenous missionaries were not required to stay at their ministry base in a village near Aleppo, Syria; rather, the ministry director who trained them had entreated them to leave.
They stayed because they believed they were called to share Christ with those caught in the crossfire, he said.
"Every time we talked to them," the director said, "they were always saying, 'We want to stay here – this is what God has told us to do. This is what we want to do.' They just wanted to stay and share the gospel."
The relatives said ISIS militants on Aug. 7 captured the Christian workers in a village whose name is withheld for security reasons. On Aug. 28, the militants asked if they had renounced Islam for Christianity. When the Christians said that they had, the rebels asked if they wanted to return to Islam. The Christians said they would never renounce Christ.
The 41-year-old team leader, his young son and two ministry members in their 20s were questioned at one village site where ISIS militants had summoned a crowd. The team leader presided over nine house churches he had helped to establish. His son was two months away from his 13th birthday.
In front of the team leader and relatives in the crowd, the Islamic extremists cut off the fingertips of the boy and severely beat him, telling his father they would stop the torture only if he, the father, returned to Islam. When the team leader refused, relatives said, the ISIS militants also tortured and beat him and the two other ministry workers. The three men and the boy then met their deaths in crucifixion.
Eight other ministry team members, including two women, were taken to another site in the village that day (Aug. 28) and were asked the same questions before a crowd. The women, ages 29 and 33, tried to tell the ISIS militants they were only sharing the peace and love of Christ and asked what they had done wrong to deserve the abuse. The Islamic extremists then publicly raped the women, who continued to pray during the ordeal, leading the ISIS militants to beat them all the more furiously.
As the two women and the six men knelt before they were beheaded, they were all praying.
"Villagers said some were praying in the name of Jesus, others said some were praying the Lord's prayer, and others said some of them lifted their heads to commend their spirits to Jesus," the ministry director said. "One of the women looked up and seemed to be almost smiling as she said, 'Jesus!'"
After they were beheaded, their bodies were hung on crosses, the ministry director said, his voice breaking. He had trained all of the workers for their evangelistic ministry, and he had baptized the team leader and some of the others. {read more here}
And now a word from a heretic: From the Christian Post Joel Osteen says to stop debating with people who aren't Christian. {here}
But sanctify Christ as Lord in your hearts, always being ready to make a defense to everyone who asks you to give an account for the hope that is in you, yet with gentleness and reverence; 1Peter 3:15 Yeah that whole Word of God thing just doesn't work for Joel.
In other news James White has just finished up over 150 debates this last one with some Muslim debaters on the Qur'an and the Bible {here}
So who do you think is doing what the Word of God says, Joel or James?
In a developing news police raid the home of an abortionist in West Bloomfield, Michigan and find what appears to be baby body parts in fourteen containers in his home. The abortionist was performing abortions in his home and perhaps the homes of his customers. This shows his lack of care for the mothers of the aborted children as the lack of sanitation in the homes could have also killed the mothers. {here}
Do you read Matt Walsh? He is a Roman Catholic and he writes interesting things at the Blaze network. Recently he wrote this:
No, Christianity Should Not 'Welcome' or 'Include' Your Sinful Lifestyle
In it he talks about a letter he received from a homosexual who berated him for his attitude regarding the sin of homosexuality and how wonderful it is that more churches are now including his "lifestyle" and getting on board with the LGBTQ agenda.
Matt makes a great point showing that coming to Christianity means leaving behind your life of sin. The Word of God makes this even clearer:
Or do you not know that the unrighteous will not inherit the kingdom of God? Do not be deceived; neither fornicators, nor idolaters, nor adulterers, nor effeminate, nor homosexuals, nor thieves, nor the covetous, nor drunkards, nor revilers, nor swindlers, will inherit the kingdom of God. Such were some of you; but you were washed, but you were sanctified, but you were justified in the name of the Lord Jesus Christ and in the Spirit of our God 1Corinthians 6:9-11 (NASB) Emphasis mine
See there were the LGBQT people in the church, but they left behind their sin in response to the Gospel which changed their lives. They didn't stay in their "lifestyle", or shall we call it what it is sin, they repented of it, repentance means that you changed <past tense> your mind, you now think differently because you now have the mind of Christ in you (1Cor.2:16). This changed perception sees sin for what it is and why we as washed, sanctified, and justified people can't go back to it as a way of living because it isn't life at all it is death . And since we are no longer dead in sin, we need to alive in Christ and dead to sin. And this is done through the Gospel, the Gospel saves us, the Gospel changes us, and the makes us alive. And with that I bid you good night.
Earworm Wednesday: Crystallize~Lindsey Stirling
As I said I am expanding the musical selections here at the blog and here is one by Lindsey Stirling who is quite the violinist. This is an original piece made by the young lady. Enjoy.

redpajama_set_name: RedPajamaCommonCrawl


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Phone Booth is More "Hitchcockian" than You Might Think
Posted by Joel Gunz on May 09, 2005
I feel like I'm about to take an unpopular position, but here goes: I think Phone Booth has more than a little of the Alfred Hitchcock touch. Not only does the "controlled space" in which the film was shot echo Hitch (see Rope, Lifeboat, Dial M, the phone booth scene from The Birds), but also the theme of sin & redemption. Stu (Colin farrell) is a slimeball, yet he elicits my pity. I identify very much with him. I myself have been dishonest, flirted with women other than my girlfriends, etc., all the time trying maintain a good guy image. I think we all do things like this to an extent. While watching the movie, then, I kept getting this nagging feeling: that could be me in that plexiglass coffin. That close identification with the nominal bad guy is a feeling I get watching Hitch movies and few others.
It may come as little surprise that the screenplay idea was initially pitched to Hitchcock. Screenwriter Larry Cohen approached the director in 1971 (when public phones were on just about every street corner), but they couldn't resolve the central plot idea. Recalled the writer:
"I first broached the idea with Alfred Hitchcock in his bungalow at Universal. I was having lunch with him one day, which always was a three-hour event. He always spent most of the time telling me stories of movies he hadn't made yet. And then sometimes you'd tell him an idea. I said, 'What about doing a movie in a phone booth since you did one in a lifeboat and one in an apartment looking out the window. It sounds like something you might like.' And he said he thought it was a marvelous idea, but neither of us could figure out how to do it. I saw him again at the premiere of Frenzy. There was a party afterward at the Century Plaza and I saw him over there and he said 'What about our movie in the phone booth?' I said, 'I'm still working on it, Hitch. Still trying to figure it out.'"
It took him another thirty years, but finally it occurred to Cohen that Stu could be held captive by a hidden sniper, to be played by Kiefer Sutherland. After that, the script practically wrote itself. In 2001, he handed it off to director Joel Schumacher, who evidently also saw its Hitchcockian potential. Taking place in real time ala Rope, the suspense remains tight and controlled right down to the final resolution.
Even the editing was Hitchcockian. I'm not talking about the MTV-inspired frenetics of which there were plenty, but rather such touches as the scene toward the end, when Stu looks up at the buildings in a panic. There is a beautiful montage, a quick succession of window shots that convey his fear, paranoia, and the omnipresence of evil, the feeling that death can erupt anywhere and everywhere. I get the sense that in the editing room Scumacher was trying to juggle front-office demands for "edgy" editing while also trying to create something of enduring value. (MTV video director Michael Bay was originally booked to direct. The first thing he asked the producers was "Okay, how do we get this thing out of the fucking phone booth?" -- possibly making that meeting world's shortest story conference.)
I think the movie draws heavily on North by Northwest for many of its details. For instance, I wonder if Stu was deliberately modeled after Cary Grant's Roger Thornhill. (Cohen credited Tony Curtis' role in The Sweet Smell of Success as his model, but I shall soldier on with my theory.) Here's why I think so:
Both play Madison Avenue advertising/PR executives.
In the opening scenes, both Roger and Stu walk through midtown Manhattan, instructing their assistants to follow through on their deviousness plans.
Both are false, hollow men who come to life by means of their travails. (While Thornhill's emptiness is symbolized by his meaningless middle initial "O", Stu's emptiness is symbolized by his fake Rolex.)
Both risk their lives in order to save the ones they love; ultimately this saves their own souls.
Another interesting aspect of Phone Booth was the sniper's conceit that he was playing God. He, like so many Hitch baddies, had donned the Nietzschean mantle of being among the elite few to decide who lives and dies (again, see Rope), putting Stu through an excruciating ordeal.
As far as the set-up goes -- the anachronistic presence of a phone booth in 21st century Manhattan, etc. -- I would add that that, too, is a Hitchcockian detail. When literalists pressed him to tone down "the implausibles" in his stories, the late director would drawl, "It's only a mooovie."
Alfred Hitchcock Film Criticism Film Philosophy Film Studies Movies Phone Booth Rope
Jennythenipper said…
I'll have to check out "Phone Booth." I've always kind of liked Colin Ferrel anyway.


This gold plated and rhinestone encrusted jewelry set is a versatile addition to your classic, modern, or vintage-inspired wedding. The set coordinates beautifully with your white or ivory wedding dress. The necklace measures 16 1/4" with a 1 1/4" extension, and the drop measures 1 3/8". The bracelet is 7 3/4" with a 1/2" extension. The earrings fall to a subtle 1 1/4".
*Size: Necklace- 16 1/4" with a 1 1/4" extension, and the drop measures 1 3/8". Bracelet- 7 3/4" with a 1/2" extension. Earrings- 1 1/4".
*This item is also available in: silver clear.


DriveScale, the leader in delivering Composable Infrastructure for data-intensive workloads and a 2018 Cool Vendor by Gartner for Cloud Infrastructure, today announced that Chief Scientist and Co-founder Tom Lyon will be presenting Composable Infrastructure with two key DriveScale partners, Western Digital and Dell EMC.
Lyon will be presenting "Composable Infrastructure with DriveScale and Western Digital" at SC18: International Conference for High Performance Computing in Dallas on November 13th at 5:00pm CT and 14th at 2:00pm CT and 5:00pm CT in the Western Digital booth (# 3901). His talks will cover why data-intensive applications have unique behaviors and require a new infrastructure approach, how to achieve cost-effective agility at scale and how the DriveScale and Western Digital solutions work together to deliver Composable Infrastructure.
Lyon will also be presenting "Composable Infrastructure with DriveScale and Dell EMC" on November 15th at 12:00pm CT in the Dell EMC booth (# 3218). In this talk, Lyon will discuss how DriveScale and Dell EMC products work together to provide an ideal Composable Infrastructure solution for enterprise and cloud data centers.
Lyon is a computing systems architect, a serial entrepreneur and a kernel hacker. You can find him behind the microphone at the "TechNow with Tom Lyon" podcast, interviewing industry luminaries. Prior to founding DriveScale, he was founder and Chief Scientist of Nuova Systems, a start-up that led a new architectural approach to systems and networking and was acquired by Cisco to become the UCS Product Line. He was also founder and CTO of two other technology companies. Netillion, Inc. was an early promoter of memory-over-network technology. At Ipsilon Networks, Lyon invented IP Switching. Ipsilon was acquired by Nokia and provided the IP routing technology for many mobile network backbones.
As employee #8 at Sun Microsystems, Lyon was there from the beginning, where he contributed to the UNIX kernel, created the SunLink product family, and was one of the NFS and SPARC architects. He started his Silicon Valley career at Amdahl Corp., where he was a software architect responsible for creating Amdahl's UNIX for mainframes technology. Lyon holds numerous U.S. patents in system interconnects, memory systems, and storage.
DriveScale is the leader in Composable Infrastructure for enterprise and cloud data centers. The DriveScale Composable Platform disaggregates compute and storage resources, and quickly and easily composes them into infrastructure optimized for dynamic, data-intensive workloads such as big data, analytics and AI. IT leaders can perform capacity planning in real time, accelerate infrastructure deployment and optimize resource usage, while reducing costs. DriveScale's platform is open and works with a large ecosystem of alliance partners. Founded and led by technologists with deep roots in IT architecture who built enterprise-class systems for Cisco, Sun Microsystems and NetApp. DriveScale is based in Sunnyvale, Calif. Investors include Pelion Venture Partners, Nautilus Venture Partners and Ingrasys, a wholly-owned subsidiary of Foxconn. Visit www.drivescale.com or follow us on Twitter at @DriveScale_Inc.


text:
Senator Cantwell Urges Action on Puerto Rico
Source: Puerto Rico Report
Senator Maria Cantwell (D) of Washington State, the highest ranking Democratic member of the U.S. Senate Committee on Energy and Natural Resources, spoke on the floor of the Senate last week to demand Congressional action on Puerto Rico.
Cantwell reminded listeners that "Puerto Rico, aterritory of the United States since 1898… is facing an economic crisis." She went on, "What are we doing about it here in Congress? We're not doing anything. That needs to change. And it needs to change now."
She acknowledged that there had been many discussions about Puerto Rico's fiscal difficulties and that there was still no consensus on the ultimate solution for Puerto Rico.
"The Energy and Natural Resources Committee, which has jurisdiction over territories, has heard from experts from the Department of Treasury [and]other government officials about how dire this situation is now," Cantwell continued, "but all those divergent views in Puerto Rico are singing the same tune right now —restructure before January 1 or they will face serious issues of default."
If Puerto Rico defaults, Cantwell said, more people will leave the Island for the U. S. mainland, where they will be eligible for services paid for by the federal government which they do not receive in Puerto Rico. "So," she said, "default equals more federal spending."
Cantwell wondered why, since in similar cases in the past, Congress has never attempted to decide which creditors would get paid, the case of Puerto Rico should be different — and different in a way that seems to be paralyzing Congress.
The notion that my colleagues think that somehow this inaction is the way out of this equation, they are just adding more responsibility to the U.S. taxpayer. Why? Is it because they want to protect hedge funds in a bankruptcy process? They want to decide here in the halls of the United States Congress who gets in line first and who gets paid?
If that is the case, said Cantwell, "It is despicable."
She went on to recognize that the various proposals made by legislators were worthy of discussion. However, she said, now is not the time to continue those conversations.
We are going to, as a body, have a very robust discussion—I guarantee you—for years and years and years to come about what the United States is going to do about the territory of Puerto Rico. Let's at least give ourselves the luxury of having that discussion when the territory is not in default. Let's come together and pass some legislation for them to restructure their debt. Let a professional organization take the politics out of this and make the best financial decisions that can be made now to save the U.S. taxpayer from further expense.


This class covers all the basics and more of both beginning and intermediate Astrology.
The different energies of the different planets (what), signs (how) and houses (where) and how that energy plays out in your life.
What the elements: Air, Fire, Water and Earth represent.
About the different Modalities: Cardinal, Fixed and Mutable and about the Orientations: Personal, Interpersonal and Transpersonal.
Most importantly, you will learn about the North and South Nodes and discover your soul's purpose and what lessons your soul chose to learn in this lifetime!
You will be able to put all this together by learning to read numerous charts.
This is an exciting, fun and comprehensive four hour adventure, the fee is $100.00.
An extensive handbook is included.


text:
ARTS, PERSONAL
Q&A | Filmmaker Eleanor Wilson on making her start in NYC
March 23, 2015 impolitikal
Actor, director Eleanor Wilson has lived and worked in New York City for the last seven years. Having started out at summer school at the city's Neighborhood Playhouse, she stayed on to do a two-year acting conservatory and never left. Now locked into the local film community, working both independently and out of Picture Farm in Williamsburg, she released her first short film, Possum in 2014. A positive reception on the festival circuit paved the way for the filming of her second short, Everything All At Once, which is currently in post-production. She talks to Sarah about her journey so far.
Where are things at with Everything All At Once?
I've started submitting it now for Spring festivals. It's a tricky one, because I think that audiences will enjoy it, but I don't know that festivals will accept it. You just don't know until you start sending it out. I learnt a lot more on this one, and got some really good practice, working with actors that I didn't know, and directing older women actors, which is a little bit scary. It was worth it, the experience of it, and the practice run of it. Which is really in a lot of ways what short films should be, practicing how to develop all the relationships, so that when it comes time to do a feature I'll feel more confident knowing what I'm doing, and how to speak to everyone and all that stuff.
The relationship side of directing must be a big part of the job.
Yeah, I mean part of it is building relationships with people that you want to work with again, but also just learning how to do that relationship. This is what it is to work with a casting director, or this is what's expected of me in this relationship with a script supervisor, or whatever it is. For me, because I've never had any formal training in filmmaking, it's just good to practice all the components of it, and to get comfortable with talking about the way you talk about things. Just how everything works.
Asserting yourself in the position of director? Is that kind of intimidating with older, established actors?
I got lucky that they were all really awesome, and really good, so I didn't really have to do too much. The way that we chose to go about it was, all of them were just offered the role, there were no auditions involved. J and Rebecca, the mum and aunt, have both done a lot of work, I'd seen a lot of their work before. And was confident enough to just offer the role to them. I think that was a good start to the relationship, not saying 'you need to show me what you can do to get this part in my tiny little short film', but just saying, 'I believe you're going to be fantastic in this film, can you come on board?' I knew [Mary] through a writing lab that I'm part of. She's one of the actors in that, and she's part of the Actor's Studio. She's been around for a long time. She had such an awesome look for the role as well, so it was easy to offer it to her. Instead of auditions I met with all three of them individually for lunch, and just had a chat about the script, had a chat about the character, and all the different relationships and backstories. So much stuff that is totally not in the film at all, but it was really fun to do that. Once I'd had the lunch with each of them, I felt more comfortable with them, and we talked about a lot of personal stuff, about our own relationships with our families and mothers, and women in general. They really got it, so it turned out that it wasn't intimidating at all. But for sure, especially with J, the woman who plays my mum, because she's just done so much stuff – before I first met her I was like, 'god I hope that I come across as knowing what I'm talking about'.
I guess it must be hard though, being younger, because you want to be confident, but you don't want to be an upstart.
Yeah, totally, you don't wanna be a young whippersnapper!
Dealing with that in your head must be tricky.
Having lunch and just talking was really nice. We didn't really rehearse much before the day. We had one day where we got everyone together and did a read. But yeah, I think what I'm learning as I go along with all of this, is just to not try and be anything. Just do you. Speak how you want to be spoken to, and just tell people exactly what it is that you want, or what you're thinking. Because I think if you're trying too hard to navigate someone's feelings or their ego then it just all goes wrong. I think that was kind of the only way that I managed to stay cool and calm throughout it, is to remember that they're just a person as well. They want to do a good job, and you want to do a good job, we're all in this together. It's not like anyone's against anyone, or the project.
How did you get into filmmaking?
I'd been out of school for a couple of years, and I joined a writing / acting lab called the Indies Lab. I joined as an actor, but once I got there I had been wanting to delve into writing a bit for a while, so I wrote this short script called Possum. That was loosely rooted in some fears that I have as a woman, I think, and started developing it at the lab with some actors there, which was really cool. The first draft I wrote in October, and it really specifically has to be set in the Fall, so I could have either shot it then, or waited a year. I'm glad that I waited a year, because for about eight months we workshopped it and that time was so invaluable to developing the story, and really honing in on what I wanted to say. Cutting out any unnecessary things and keeping it really succinct. I think in short films that's key, to get it economic and not try to fill it out too much. Short films are more successful the shorter you are able to make them, and still tell a story.
So that's how I came about making my first film. It was really just one of those things where you just say that you're doing it, and then all of a sudden you're doing it. You don't really think too hard about the challenges that are going to arise. And they come up, and you just deal with things one by one. I really think that's probably the only way I could have done it. If I'd stressed about knowing everything, and reading lots of textbooks – although I did read some textbooks! – I don't know that I would've ever actually made it. But a film is such a collaboration that, once you start getting other people involved, any thing's that you're unsure about get filled out by other people's ideas. That's what's so exciting about it.
That's when I discovered how much I love doing the writing/directing thing. It's just so fascinating to pull people together who have all these different ideas. The trick is knowing when to take on someone else's idea, and when to say 'no, actually I think it's this'. I think that's what made me fall in love with it, the pre-production process of pulling all these people together, gathering different ideas, and the script evolves then. Then when you go to shoot it it evolves again, and then collaborating with an editor who, again, hadn't been involved in any of it, and comes in somewhat at the end, and has a completely different idea too. It's all this stuff that I find really exciting.
You've acted in both of your shorts, as well as directing. How does that actually work, logistically?
For Possum and Everything All At Once it was the same DP [Director of Photography], Mica Bradley. I had worked with her before, on a film that I did in Michigan, The Sleeping Bear. She was the gaffer on that. So we had already spent a lot of time together – we lived together in a cabin for five weeks, and got to know each other really well. I just really liked her vibe. We talked about it a bit in pre-production [for Possum], how we would approach that. We had a tech run day, where we just tech scouted every scene and planned out the way that we would shoot things. Then, on the day we would rehearse the scene with the other actors and make any adjustments to the set-ups that we'd planned, if we needed to. Then, it would really just be – she'd take a still of a starting frame, I would look at that and make sure I was happy. From then on we just let it go. I watched dailies at the end of each day, just to make sure there wasn't anything we completely missed, or that I really felt wasn't right, but I think it was just having a good relationship with Mica, and trusting that she was getting the right shots [that made it work]. If we'd been watching playback it would have slowed everything down so much.
We did the same thing with Everything All At Once, although for that Mica had this really awesome little handheld remote monitor, which was really handy in the car. We were in such tight confines that when we were shooting someone else's close-up and I'm not in the frame I wouldn't have been able to be there with her. She's so great at following performance, and just being really intuitive with how to move the camera, it just wasn't a concern. After Possum we'd done it once already, so it was kind of a no-brainer to have her do Everything All At Once as well. It's nice to have people around who you have worked with before and you know are just going to get the work done and be super cool about it. Especially with such a small crew. Everyone's a head of department [in that scenario]. Everyone's dealing with everyone all at once, so everyone's gotta be cool.
There are similar themes between the films, a.k.a pregnancy. Is there a reason it's come up for you both times?
The story of Possum came about when I was staying upstate at that house that we shot in, and saw a dead possum on the side of the road and thought that its hand looked very humanlike. From there I kind of worked backwards. I became a little bit obsessed with the image, and I just kind of thought about what kind of woman would be seeing a dead possum and seeing it as a dead child. But I guess the fear of not being able to get pregnant when the time comes is a common fear for women, and certainly something that I think about. With Everything All At Once, I was actually really resisting putting the pregnancy thing in for a long time, in earlier drafts of it, because I had already done a miscarriage film. I was just like, 'I don't want all my work to be about this'. But as the story evolved, it was initially just that [my character] was having some problems with her partner back home, or whatever. It just wasn't specific enough, and then I kept thinking more and more about family, role models in your family, and how I look up to my mum as being this incredible supermum of a woman, who has worked full time all her life while raising three kids. She can just do everything and she's so well-organised and so on top of it and everything. She's what I look up to, if I wanted to be a mum one day. I would hope that I could be as good as she is at it. Then the aunt character is supposed to reflect a woman who never had kids. It just made sense for the younger character to be pregnant, observing these two different women. And [her grandmother], who has completely lost her mind. What it means to choose to be a mother, or to choose not to be a mother. I guess I've been reading a lot about how people are choosing to live their lives these days, and it does seem like there are a lot of women who are choosing to not have kids. I find that really interesting because it's always been something that I've thought, 'well of course I want to have kids, it's part of life'. But as I get older, who knows – maybe I don't. I guess it all just fell into place and made sense when I was looking at the other characters. I realised I shouldn't shy away from it, just because it's a theme I've thought about before.
It hasn't been that long that you've been going for it, and you've already completed two shorts.
I'm not going to say it's easy, but it's not impossible, for sure. Especially living in New York. There are just a lot of people around, wanting to do the same thing. And a lot of people who are really supportive and interested in wanting to be involved. It's been good to discover that there's people out there who just want to be involved in good projects. That's where I'm at as well. Outside of my own work, I'm always, wherever I can, trying to help other people with their things. It's kind of this cycle of helping each other out that really keeps everything moving forward. People growing together from a really grassroots place. I've become a part of this female filmmaker group called Film Fatales. We meet once a month on a Monday night and have a dinner together, and discuss our projects, what we've got coming up. We pick a discussion topic for the night, something related to being a woman working in the industry. Then at the end of the night we go around and do what are called the 'asks'. Basically it's just anything that you need you just throw it out there to the group. It could be 'I need a DP', 'I need money', or 'I need advice on how to do…' anything. If you can help that person you can just sort of reach out to them. It's a really, really nice group. It was started by Leah Meyerhoff. Originally just for women who had completed a feature film, that's how it started, and then I think it expanded; more and more people started becoming involved, then we started the shorts chapter in New York. So we're all the women who have made short films, and some of us are working towards making a feature. That's kind of the only way to break it up because it got too big. I think now it's been split off again, into narrative and documentary too. It's all just getting too big, because there's actually a lot of female filmmakers out there. I think there's a chapter in London, Austin, LA, Sydney. It's been really awesome getting involved with them. Partly just on an inspiration level, it's really great to meet up with a bunch of other women. And also meeting future collaborators is really cool.
There's a lot of talk at the moment about how hard it is for women filmmakers. Do you think it really is that hard to be a women in the industry, or is it just hard, generally?
Now feels like a really good time to be a woman in film, because we are getting a lot of attention in the media. It feels like things are changing a little bit there. I think in terms of crewing positions it might be a little bit different. From what I've heard, television is still a bit of a struggle. We're certainly by far a minority. But I'm working on things that are such small scale, and essentially I'm the boss of my own films, so I'm not coming up against that many struggles, just because I have the power to make my crew up of whoever I want it to be. So I do work with a lot of females on set. My DP's female, my editor, producer and EP, script supervisor. I choose to work with a lot of women. If you want things to change you've gotta start by changing them yourself. For me that's a really important thing. But it's certainly not only that they're women, they're also really awesome at what they do, so it's a no-brainer. But I get really proud of [Everything All At Once], that I can put it out there and say, 'yeah, it's an entirely female cast, and I am a woman, and so is my DP and so is my editor'. Especially DP, I think is a role that is pretty boys-clubby.
In terms of actual challenges, it's tricky. I've been doing freelance work, and you notice things on set sometimes. I had an incident on a commercial set not long ago, just at the end of last year. I was just very blatantly being sexually harassed, this photographer wouldn't stop talking about my arse all day. And it's like, ok, I know that this is one day that I have to be on set, and either I can make a big fuss about it, and make everyone feel uncomfortable, or I can just laugh it off and just try and stay away from this guy as much as I can. I chose the latter, because it was the easier choice at the time, and because I was in production, coordinating something. I'm not the boss. It's hard though – there's a huge part of me that thinks I just didn't stand up for women in that scenario, and I always want to be standing up for women, and for what's right. But I chose what was going to be able to get me through the day, in that moment. And I think it's a real shame, that that's how it is, still. It was appalling, really blatant.
And no one else said anything?
No one else said anything, because everyone's just dealing with their own shit. It was pretty upsetting, and afterwards I was just like, 'I feel like a terrible piece of shit that I didn't stick up for women today'. [But] there are many men who work on film sets who are awesome, and not like that at all. It's just there's the occasional one. And for some reason it's still ok. I should've just slapped him across the face, and been like 'go back to your cave!'
It's hard though, because it's not like that was the first time you've negotiated that kind of situation. You choosing to respond how you did was informed by knowing he probably wasn't going to change what he was doing if you said something, which is the shitty thing.
In the moment it was just easier to just deal with it, and then feel shit about it later. Anyway, that doesn't happen that often, but it did happen. Other than that, I just feel like sometimes I get this vibe, like at festivals and so on, sometimes I get a vibe from certain male directors, usually ones who are older, a bit of a 'oh good for you vibe'. Having a try at doing the big boys' job. Once I did a Q&A, it was after a screening, and there were five male directors, most of whom were over 40. I'm just this girl sitting on this panel. The Q&A ended up becoming a bit of a conversation between the filmmakers, because some of them were quite vociferous, and just throwing weird things out there. And one of the other filmmakers said to me, 'I'm just curious' – this was after Possum – 'was this experience cathartic for you? Is this a personal story?' I was like, what is he asking, is he asking if it's autobiographical?' I just said, 'I wouldn't really call it cathartic, I really enjoyed making it. I guess there's some fears down there, and maybe that came out a bit in the writing of it, and that's how that came out'. Then one of the other filmmakers said, 'He wants to know, have you had a miscarriage. Did you? Did you have a miscarriage, do you know what that's like?' I said, 'Uh, ok, no I haven't had a miscarriage, but I think that's a fear that many women have, and something I felt I could relate to.' It was really strange, I just felt really weird about the whole thing, and afterwards I was talking to a couple of the other girls who were in the audience, and they were like, 'that was so fucked up that they just pigeonholed you like that.' Because not one other person on that panel got asked if their film was autobiographical or personal, and I kind of get this vibe sometimes that there's this stigma around female filmmakers that they [only] tell very personal stories.
Use it as an opportunity to work out their own shit?
Yeah, work out their problems or something. It really upset me afterwards, and I was really pissed off that I didn't say more about it at the time, because I was like, that actually really diminishes my ability to have a creative thought, an idea. I'm a person who can come up with a story, it doesn't have to be my own experience. But I really don't think it's all negative. There's a lot of really great stuff happening right now, a lot of support and attention to female filmmakers. I think mostly fairly positive.
What else are you working on at the moment?
I'm working on trying to get a feature finished. I've got two on the go. Loosely, one is a mother-daughter story again. It's about a woman who is a romance novelist, a ghostwriter of romance novels, who lives with her mum, who has Alzheimer's. She gets wrapped up in pretending to be the birth mother of this young girl who wrote a book about being adopted, because they kind of look like each other and are from the same town, even though she's never had a kid. It's kind of a weird story. But through a series of events she ends up going along with the story that she is this young, successful writer's birth mother. I guess it's a lot about regret, and dealing with your lot in life. Choices, and so on. The other one is completely different, it's actually kind of about the way people react to celebrity deaths. I had been thinking about that a lot last year, because there were a couple of big ones, with Philip Seymour Hoffman and Robin Williams. There were more. I've been quite bothered by the way that people reacted, certain things that were said on social media. At the same time, lots of people had gone missing in Brooklyn last year. There were three or four cases of missing people, who are our age. You would hear on the street all the time, things like 'oh no no, he was found dead, oh yeah it was suicide. He was depressed.' The way people talk about people they don't even know at all, and how the internet's such an open forum. That's sort of what that film's about.
Do you have any strategies for getting work out?
I don't have so much of a strategy. With the shorts that I've done, the goal has always been to get the first draft done as quickly as possible. I think that's the hardest thing, to get a full first draft. You can change anything after that point, make things better. Even if you don't know how the dialogue should play out or whatever, don't obsess over it, just get out a first draft. And I've always written them chronologically, start to finish, not skipped ahead to any bit. For me it just flows easier that way. Now that I'm starting to work on writing features it's definitely different, because I don't think I can just sit down and write a feature from beginning to end. I think things need to be mapped out a little bit more. I struggle a little bit with outlining. I'll start and then I'll get really excited about a particular scene, and get really distracted. But generally if I feel like writing something I try and just go with whatever I feel like writing, because then you're ready and in it and you want to get it out. You don't want to fight the urge. It's kind of a trick though, that whole 'oh I've only got an hour, I can't get this done now'. An hour is still an hour, and you could do some. That's what I try and remind myself – I don't actually need to be up in the woods to write. I can just write in the moments when I have time, I am physically capable of doing that. It's great to go to the woods and write for three days, and I do try and do that once every six weeks or so, but I think it's important to remember that you're human and you have other obligations and you've gotta just do it when you can.
Eleanor Wilson is an Adelaide-born filmmaker, currently based in NYC. Find her at www.eleanor-wilson.com. View Possum here.
actorActor's StudioAustraliacelebrity deathdirectorEleanor WilsonfilmFilm FatalesIndies LabLeah MeyerhoffMica BradleyNeighborhood PlayhouseNew YorkPossumwomen
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Posted by Maggy Parries on Sep 21st, 2016 and filed under Allgemein, Breaking News, Markets. You can follow any responses to this entry through the RSS 2.0. Both comments and pings are currently closed.
Incumbent President Edgar Lungu of the governing Patriotic Front (PF) won the closely fought 11 August presidential elections securing 50.4% of the vote and narrowly avoided a second-round run-off with his main rival Hichilema of the opposition United Party of National Development (UPND) who won 47.6%.
Even though voting day proceeded rather peacefully in general, it has been one of Zambia's most controversial and violent campaign periods, marked by street confrontations between PF and UPND supporters, harassment of activists and arrests of opposition leaders.
The UPND challenged the results at the Constitutional Court for alleged fraud and irregularities.
Civil discontent has flared since the drop in copper prices led to the loss of thousands of jobs, painful energy shortages and a tumbling local currency (Kwacha) causing double-digit inflation.
As a result of the economic malaise, an IMF bailout package – previously postponed until after the elections – will be negotiated in the coming months for preventing a balance of payments crisis and to improve public finances. In time, this should help reboot confidence and encourage investors, yet on the other hand, unpopular fiscal reforms will be conditional and might further unhinge the already fragile political climate.
Moreover, patterns of rising authoritarianism under President Lungu have become more apparent, evidenced by opposition arrests made after post-election protests and the closure of independent and critical media.
Credendo Group has used its best endeavours to ensure that all the information, data, documentation and other material (copy and images) in thisreport are accurate and complete. Credendo Group accepts no liability for errors or omissions. The views expressed herein are the author's personal views andare not intended to reflect the views of Credendo Group. Credendo Group will not be liable for claims or losses of any nature arising directly or indirectly fromuse of the information, data, documentation or other material from this report.
Sanjay Dharwadker, head of global ID consultancy services at WCC will represent WCC.


text:
Against Therapy
By Karen Laven
Author: Jeffrey Moussaieff Masson
Genre: Psychiatry
Publisher: Common Courage Press
Pub date: June 1993
pp: 343
Jeffrey Moussaieff Masson's book Against Therapy turns the entire concept of the practice of psychotherapy on its ear. In fact, it might as well be on a deaf ear since Masson alleges that psychologists come to the couch with their own inherent preconceptions and prejudices, which will trickle down to the patient. The book was initially released in 1988 and, not surprisingly, stirred controversy at the time of its publication.
The author is highly qualified in the field. Although he holds a Ph.D. from Harvard University in a seemingly unrelated field of Sanskrit, he is also a Freudian analyst and former Project Director of the Sigmund Freud Archives. However, when Masson contended that Freud made a mistake by stopping to believe that sexual abuse was the cause of human suffering, he was fired from the archives and his membership in the international society was revoked.
In the wake of this controversy, Masson penned multiple books expressing his disagreement with the therapeutic-psychiatric community. He felt that in the interest of professional appearance and convenience—since his theories were ostracized by his peers—Freud had not possessed the courage to stay on the correct path identifying women who'd been sexually abused as children and citing the dire implications for the psychiatric community.
Masson's book addresses Freud's infamous patient "Dora" and probes the once-renowned psychotherapist Carl Jung's Nazi connections. He also delves into Carl Roger's Humanistic Psychology. Rogers was considered the preeminent psychotherapist, heralded as the polar opposite of John Rosen or Albert Honig (whose horror story "treatments" Masson meticulously documented). But Rogers does not come away unscathed by Masson.
"The faults of Carl Rogers … are not the faults of individual therapists; they are the faults of therapy per se. No amount of reform could abolish these faults, because they are endemic to the very nature of psychotherapy," Masson writes.
Masson staunchly avers that the concept of therapy is flawed and, therefore, should not be employed at all. To illustrate this point, he cites many cases where psychiatric patients were "treated" in an extremely abusive manner. The evidence amasses with each turn of the page, and the reader feels surprised, repulsed, shocked, and angry as the book moves along.
The author asserts that the definition of what is normal in society is fluid and attempting to put one person into a mold is not only highly difficult but also wrong. Who are psychologists/psychoanalysts to judge another human being and their personal set of norms? Masson writes that his life "was in no better shape than that of my patients."
In fact, he maintains that a good friend is a much better confidante than a mental health professional. The PhDs and MDs are not always naturally empathetic, he argues, and taught responses might not be helpful and could actually exacerbate the patient's condition. Masson supports this argument with numerous examples of therapists, who were unable to help their patients.
In an updated version of the book, Masson responds to his critics. "I must address the concern, widely expressed, that I have not offered any alternative to psychotherapy," he writes. "I have repeatedly expressed my resistance to being placed in the position of pretending to have a solution. I did not, and still do not feel that in order to criticize the current state of affairs in psychotherapy I must offer a better alternative."
Fair enough, yet the reader cannot help but feel at least a bit duped. It's like watching a movie all the way through to find out who the killer was only to have the film end without bringing closure. The author has since ceased writing about the therapy issues, focusing instead on fiction and nonfiction books about animals, including his 2011 work: "Dogs Make Us Human." This makes the reader wonder if perhaps, one day, our empathetic canines will prove to be the most successful "therapists" of all? If you go by Jeffrey Moussaieff Masson's philosophies from Against Therapy, they certainly could do no worse.
Tags: Against Therapy, freud, Psychiatry, Psychology, Review, Sigmund Freud


text:
My BEST Runs Upcoming Races
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Admin Race # 1281
NN CPC Loop Den Haag
Sunday September 26th, 2021
Distance: Half Marathon · 10K · 5K
The City-Pier-City Half Marathon (NN CPC Loop Den Haag) was first held in 1975 and featured a 14.5km course. This was extended to the half marathon distance the following year. The competition has been used as the Dutch half marathon championships on a number of occasions.
The course is a relatively flat one, which lends itself to fast times for athletes. A former men's half marathon world record of 58:33 minutes was set at this race by Sanyek Wanjiru in 2007. This remains the men's course record, while Tegla Loroupe is the women's course record holder with her run of 1:07:32 hours from 1998.
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Race Date: 03/08/2020 Distance: Half Marathon
Division Time Name Age Home
Male 59:56 Dawit Wolde 29 ET
2nd Male 59:58 Kelvin Kiptum 21 KE
3rd Male 1:00:00 Bernard Kimani 26 KE
4th Male 1:00:03 Leonard Langat 29 KE
Female 1:09:43 Joyline Chemutai 26 KE
2nd Female 1:11:31 Katarzyna Jankowska 27 PL
3rd Female 1:11:35 Zewdnesh Ayele 26 ET
4th Female 1:11:39 Jill Holterman 28 NL
M 40-49 1:04:44 Ebrahim Abdulaziz 42 NO
M 50-59 1:10:58 Nico Altorf 54 NL
M 60-69 1:23:05 Oddmund Roalkvam 60 NL
M 70+ 1:26:21 Cees Stolwijk 71 NL
F 40-49 1:13:55 Laura Manninen 45 FI
F 50-59 1:37:22 Karin van Gorp 51 NL
F 60-69 1:44:05 Jose Willemse 62 NL
F 70+ 1:58:14 Aleid Busser 70 NL
Click Here for Official Race Results
2019 RACE CANCELED
The NN CPC Loop Den Haag has been canceled! While running under these extreme weather conditions, we can't guarantee the safety of 41,000 participants. There is too much and too strong wind, wind force 7 and some wind gusts up to 100 km per hour. In combination with very bad weather and a low temperature there is an irresponsible situation at the Malieveld and the course. We regret this as much as you, because we were also looking forward to this 45th edition of the NN CPC Loop Den Haag. After consultation with the mayor and emergency and security services
we decided to canceled the NN CPC Loop Den Haag.
A setback for everyone who is looking forward to it, but the safety of the runners, volunteers, spectators and other people involved is our main priority.
Our main request: please, do not come to the Malieveld.
The rich history of the NN CPC Run The Hague started on April 12,1975 with an official race of 15kilometers that started on the Lange Voorhout and finished in the Prinsenstraat. The Dutch elite athlete Henk Kalf won in 42.53 (when the course was measured again it was found to be 500meters too short). In 1976 the distance of the NN CPC Run The Hague was increased to the half marathon (21.1 km). Female participants took part on 29 March 1980 for the first time. Marja Wokke was the first winner.
In the early years of The Hague's biggest sporting event the roll of honor saw mostly Dutch runners. Besides Henk Kalf, who won the first edition, Cor Lambregts from Limburg won in 1983. Marti ten Kate celebrated four times in a row: in 1987, '88, '89 and '90. Carla Beurskens also won four times ('84, '85, '86 en '90). From 1991 the highest places on the medal podium were reserved for participants from abroad. The Kenyans are the best represented. Some very big names appear in the list of winners.
Benson Masya was the course record holder with his 1.00.24 from 1993. In 2007 Samuel Wanjiru surpassed that achievement by a wide margin. The young Kenyan athlete finished, on a course that has been improved upon over the years, in a world record time of 58.33. Among the women the course record belongs to Lornah Kiplagat, who now is a Dutch national, with 1.06.56 (2006).
Click for Official Race Web Site


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In all, Forex Candlesticks Made Easy is what I would recommend for anyone looking to improve their trading knowledge and profits.


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text:
An Analysis of Moral Values of Harris J Songs in The Album Salam
Hayulina, Yayuk; Neelam, Putri
The aims of this research were to find out moral values in the songs lyrics Album Salam by Harris J and to find out most dominant kind of moral values appearing in the lyrics of Harris J song in Album Salam. The scope of the research meanwhile, the researcher limited the study on moral values in Harris J's song in the Album Salam. Descriptive qualitative approach was used by the researcher to find out the moral values in the song. The findings were shown that there were twenty-two (22) lyrics most dominantly as religious moral value then, secondly thankful moral values placed as the second position. It could be viewed that there were twenty (20) lyrics found in both moral values. Thirdly, it was independent moral value there were eighteen (18) lyrics found. Then, hard work moral value was placed in the forth order there were fourteen (14) lyrics. After that, responbilities moral value was placed in the fifth order there were seven (7) lyrics. Among those moral values, the most dominant moral value found in the album was religious moral value (22) lyrics. It was caused by the fact that he's an islamic singer and very grateful for whatever he has because of his parent's education. He is still new but he is independent and learn a lot from anything for his career and life
Name: Skripsi Putri ...


text:
Types of Drawbridges
Which Kind of Bridge Is Stronger: Arch or Beam?
By Michelle Norton
A drawbridge is a form of bridge that can be moved, lifted or otherwise taken out of the way so no one can cross the bridge. These bridges were used in ancient fortifications that stood behind a large hole, moat or crevasse. Modern drawbridges usually serve two functions. When spanning rivers, drawbridges cross the gap to let traffic such as trains and other vehicles across. Then part of the bridge lifts, slides or turn to allow river traffic through. There are three types of early drawbridges: sliding, lift and bascule. Modern technology has added the turning drawbridge.
Sliding Drawbridge
The sliding platform is a simple plank or set of planks lashed together that slide over the water source or hole and is pulled or drawn back in by ropes. This is the easiest to use by hand but it has been updated for modern use and renamed the retractable bridge. Using engines, part of the bridge is pulled back under the remaining part of the bridge to allow larger ships through.
Lift Drawbridge
The second type, the lift drawbridge, is the one that captures the imagination. Also called a vertical lift drawbridge, a set of lashed planks of wood is lowered over the water source with rope or chains attached to either side of the far end. The rope (or chains) would be attached to the top of a structure on the other side of the water source. The bridge is then lifted from the structure and pulled flush to the structure. This design is still used in modern drawbridges. It is limited by the height of the structure and the larger the bridge the harder it is to lift the bridge high requiring height limits for ships passing though. Modern versions use electric and oil engines to pull up the bridge.
Swing Drawbridge
A swing or turning drawbridge lifts and rotates the middle of the bridge above the remainder of the bridge. The turnable pier must be large and able to lift heavy loads. Hydraulics are used to lift the bridge out of the channel it spans.
Bascule Drawbridge
The bascule drawbridge uses a a counterweight to lift the bridge. Some bascule drawbridges used the weight of the castle gate or portcullis to lift the bridge. The modern version of the bridge rotates vertically to allow ships to pass through. There are no height restrictions with this type of bridge. Because of how the movable parts rotate, the bridge usually has heavy weight restrictions to keep the bridge aligned. Heavy loads could drop the bridge unexpectedly.
Absolute Astronomy: Drawbridge
Lift Slide Bridge: Drawbridge
Native of Colorado and single mom, I've been designing websites for over 16 years. I am fluent in HTML, CSS and web standards. I work with Wordpress, Drupal, and other content management systems. I have extensive social media experience and have been integrating analytics, web sites and social media for years. I have designed for non-profits, corporations and artists. Give me a text editor and code to write and I'm content.
What Simple Machines Are Used in the Trebuchet?
What Bridge Designs Are the Strongest for Science Projects?
Advantages & Disadvantages of Types of Bridges
Parts of a Dock
How Hydraulic Pilot Valves Work
Types of Oil Drilling Rigs
How Is Hydropower Gathered or Created?
What Are Water Mills Used For?


text:
Manchester United and Man City players are causing problems for Belgium
Man Utd and Manchester City stars are key to Belgium's hopes of success at the World Cup.
James Robson
The clash of styles between Jose Mourinho and Pep Guardiola is creating a headache for Belgium manager Roberto Martinez.
Belgium's golden generation are heading to the World Cup as one of the favourites - but Martinez' biggest problem is moulding together his Premier League stars.
Manchester United, Manchester City, Chelsea and Tottenham make up the majority of his squad - but play markedly differing styles at club level. Martinez' concern has been drilling into his players what he wants from them when out of possession.
The counter attacking styles of Mourinho and Antonio Conte see United and Chelsea players drop off without the ball. Meanwhile, the ultra-offensive Guardiola and Mauricio Pochettino order City and Tottenham to press high up the pitch.
Sources close to Martinez claim that has been among his biggest issues while preparing Belgium for the tournament in Russia.
The next Manchester United captain is an obvious choice
With Romelu Lukaku, Kevin de Bruyne, Eden Hazard and Mousa Dembele among the key players for Belgium, it has presented their manager with a problem.
Belgium have been big disappointments at major tournaments in recent years, despite having a squad filled with the world's brightest stars.
And the pressure is on Martinez to deliver in Russia after signing a new deal before the tournament.
But major questions remain over their ability to turn it on when it counts.
Lukaku and De Bruyne are key to Belgium's hopes.
De Bruyne has pointed to issues in the camp, openly criticising Martinez' 'very defensive' tactics following a 3-3 draw with Mexico in November.
"As long as there is no good tactical system for the team, we are going to face difficulties against countries like Mexico," he said. "It's a pity that we have not yet found a solution.
"We are playing a system that is very defensive, but filled with many attacking players who want the ball.
"Then you get a bit of a problem, like on Friday against Mexico, a match in which we had very little ball possession and everyone in a system that does not really suit.
Manchester United - key information
"We now know that something has to be changed against these teams."
Belgium - who face England in Group G - completed their preparations for Russia with a 4-1 win against Costa Rica on Monday.
And Lukaku - who scored twice - insists they are course to be successful in the tournament.
"I think we have made progress," he said. "We scored a lot of goals tonight.
"We will still progress before the match against Panama and we will give 120 per cent against them. We will continue to make progress later."
Manchester United Transfer NewsJack Grealish 'makes Manchester United transfer decision' and more rumoursThe latest Man United transfer rumours include Jack Grealish, Tahith Chong and Fenerbahce goalkeeper Altay Beyindir.
Manchester United Transfer NewsArsenal great makes Sir Alex Ferguson claim about Bruno Fernandes Manchester United transfer interestMan Utd are interested in a move for Bruno Fernandes in the January transfer window.
Dean HendersonManchester United fans all say the same thing about Dean Henderson after penalty save vs Man CityDean Henderson pulled off a penalty save for Sheffield United at home to Manchester City and it has led to reaction aplenty from Man Utd fans.
Manchester United Transfer NewsSheffield United reveal transfer stance on Manchester United goalkeeper Dean HendersonOn loan Man Utd goalkeeper Dean Henderson impressed for Sheffield United in their defeat to Man City and there's an update on his future.


Hardwood has an excellent reputation when it comes to types of floors. A lot of that admirable track record has to do with how it looks.
A beautiful hardwood floor is almost universally appreciated, and many wood floors still look great after enduring decades of the comings and goings of families, visitors and even a variety of pets.
However, things can go wrong even for the best Red Oak hardwood floor.
So, what are the different types of wood floors, how should you care for your hardwood floor once it has been installed, and how can you restore a floor that hasn't been looked after sufficiently?
There are some basics to keep in mind, and probably the most important is to keep excessive moisture away from the floor, or to clean up spills without delay. Even when cleaning the floor you should at most use a damp mop, with no dripping water, and even then it is usually recommended to use an appropriate wood floor cleaner.
Your floor should be cleared regularly of dust and sand particles which could scratch the surface, so best practice is to use floor mats or runners which help catch these elements, and then also to dry-mop regularly.
Other culprits that will surely degrade the appearance of your floor are unpadded furniture feet, and heavy furniture being dragged over the unprotected floor. And then there are the padded feet belonging to pets which can scratch the floor if you don't trim those toe nails regularly!
What can you do to get a great but neglected hardwood floor back to its former glory?
This link will take you to a great article showing how this can be accomplished, in this case with a 72 year old oak floor!
Still Unsure About The Best Type Of Wood Floor For Your Family?
Hardwood flooring is known for adding structural strength, value and a unique sense of warmth old-world charm. You can choose from a wide range of wood species, finishes, stains, cuts and surface treatments.
Popular wood species for hardwood floors are Oak, Cherry, Birch, Maple, Alder, Brazilian Walnut and American Black Walnut.
These floors are also referred to as wire-scraped wood flooring. It simply means that the planks have been brushed with a wire brush to remove the soft, upper layer of wood. This gives you flooring with a more textured, 'lived-in' or older look. You gain access to more of the character of the hardwood planks, in a sense.
On the upside, this gives you a floor that is less likely to show scratches and scrapes, as these tend to blend into the wire-brushed appearance. As the softer layer of wood has been removed, the floor may also be more resistant to scratching. Another benefit is that the floor should become more slip-resistant.
On the downside, the rough texture can sometimes be more difficult to maintain, although not everyone agrees with this. Another drawback may also become apparent when refinishing. Remember that the soft upper layer of the wood is gone. Usually refinishing of hardwood planks can be done two or three times, each time removing more of the upper layer through the sanding process. With wire-brushed floors this won't be possible.
These are floor planks that have been distressed or scraped by machine. These won't give you the unique appearance of hand scraped floors, but will be less expensive. You may find that the look isn't as natural as you would have liked, as a machine is likely to leave noticeable repetitive patterns on the planks.
This is the real thing! In this instance the floor planks are distressed by hand. With this floor you should get a very natural and unique end-result. The floor will be texture-rich. The texturing will vary according to the level of scraping. As the scraping is done by hand, this usually results in a more costly floor installation. You may find that hand scraped flooring is more durable than smooth floors, as scratches tend to 'disappear' into the scraped surface. An example of this is Mazama Handscraped Tropical Collection Wood Flooring in Acacia, Oak Blackmoon or Mongolian Teak.
This is the least labor intensive option, so should normally be most affordable. This type of flooring installation will give you a smooth, untextured appearance. The planks won't have the time-worn look of a hand scraped floor. One of your options is the Mazama Kempas hardwood flooring range in Royal Mahogany or Jasper Red Oak Flooring. On these floors dust and scratches will be fairly noticeable, due to the smooth surface. You will therefore need to be more careful when it comes to protecting the floors.
In this instance, installation of the floor has to be followed by finishing. You can choose from a number of finishes and sealers.
Your planks will arrive ready to be installed and used. You won't have to worry about details such as sanding or finishing. One of the best finishes is aluminum oxide for extra durability. This finish has to be applied at the factory, as special equipment is needed to speed up the drying process. This gives your flooring a tough and durable layer that can withstand lots of foot traffic!
Choosing the right type of wood floor for your home, can be quite a challenge. You will need to do some homework to make sure that you make the most of this home remodeling investment. It is a good idea to get your hands on some samples to enable you to see how particular species, finishes or textures will fit into your existing decor.


text:
Taylor Swift and Tom Hiddleston Just Made Their First Appearance Since Kim Kardashian's Snapchats
"Sorry, Kim who?"
Taylor Swift is back, and she has literally zero f*cks to give when it comes to Kim Kardashian's attempted Snapchat takedown. At least according to this completely adorable photo of her and Tom Hiddleston strolling around Los Angeles last Thursday in preparation for Comic-Con.
The Image Direct
The couple were photographed looking happier than ever following Kim's release of a private conversation between Taylor and her husband, Kanye West—which seemed to imply that Taylor approved the rapper's controversial "Famous" lyrics.
We wouldn't go so far as to say that this photo proves Taylor's cool with Kim's snaps, but one thing's certain: love conquers all. And by "love" we mean "Hiddleswift" and their matching outfits.
Follow Marie Claire on Facebook for the latest celeb news, beauty tips, fascinating reads, livestream video, and more.
Mehera Bonner Contributor Mehera Bonner is a news writer who focuses on celebrities and royals—follow her on Instagram.
Kim Kardashian Doesn't Speak to Taylor Swift
Hiddleswift's Latest PDA
Taylor Swift Worried Tom Hiddleston Using Her


text:
Fredstraktaten i Amiens blev underskrevet af den 25. marts 1802 af Joseph Bonaparte og Charles Cornwallis som en "endelig fredsaftale" mellem Frankrig og Storbritannien.

Gennem aftalen lovede briterne at levere Malta og andre af malteserordenens besiddelser tilbage til ordenen, Egypten tilbage til Tyrkiet, Cape og Ceylon til Holland og Trinidad til Spanien. Briterne anerkendte også den franske republik og kong George 3. fjernede den historiske titel "Konge af Frankrig" fra sine øvrige titler. Franskmændene lovede at trække sig tilbage fra Napoli og Rom.

Freden kom i stand, efter at William Pitt den yngre var gået af som britisk premierminister i 1801. Han blev erstattet af Henry Addington som straks tog kontakt med Napoléon Bonaparte (bror til Joseph Bonaparte) med et forslag til fredsaftale. Chefforhandlere for Frankrig var Charles Maurice de Talleyrand og Joseph Bonaparte. For Storbritannien var Robert Jenkinson, 1. jarl af Liverpool.

Freden varede ikke længe: Napoleonskrigene udbrød i 1803, og i 1804 blev William Pitt d.y. igen britisk premierminister.

Litteratur
 Lindqvist, Herman (2008): Napoleon,

Amiens, Fredstraktaten i
Englands historie
Begivenheder i 1802

redpajama_set_name: RedPajamaWikipedia


text:
Q: can i redirect user to other jsp page in shiro jdbcrealm doGetAuthenticationInfo() method? Hello all I want to know can I redirect user to accessdeniedpage.jsp in shiro custom jdbcrealm
Here is my code....
  protected AuthenticationInfo doGetAuthenticationInfo(AuthenticationToken token) throws HostUnauthorizedException,AuthenticationException {

    UsernamePasswordToken upToken = (UsernamePasswordToken) token;
    String username = upToken.getUsername();
    String clientIP = upToken.getHost();

    // Null username is invalid
    if (username == null) {
        throw new AccountException("Null usernames are not allowed by this realm.");
    }

    Connection conn = null;
    AuthenticationInfo info = null;
    try {
        conn = dataSource.getConnection();

        String password = getPasswordForUser(conn, username); // get userpassword
        boolean ipFlag = getIPFlag(conn,username); // check whether users ip needs to be check i.e. get ipflag from users tbl, if true check user's ip else not
        boolean ipMatched = checkIP(conn,username,clientIP,ipFlag); // returns if user's ip matched with ip stored in database..

        if (password == null) {
            throw new UnknownAccountException("No account found for user [" + username + "]");
        }

        if(ipMatched == false){
             // how to redirect user to accessdeniedpage.jsp ?
        }

        info = buildAuthenticationInfo(username, password.toCharArray());

    } catch (SQLException e) {
        final String message = "There was a SQL error while authenticating user [" + username + "]";
        if (log.isErrorEnabled()) {
            log.error(message, e);
        }

        // Rethrow any SQL errors as an authentication exception
        throw new AuthenticationException(message, e);
    } finally {
        JdbcUtils.closeConnection(conn);
    }

    return info;
}

I am checking users ip, if ip not found in database I want to redirect user to accessdenied page
Update shiro.ini
 [main]
ds = org.apache.shiro.jndi.JndiObjectFactory
ds.requiredType   = javax.sql.DataSource
ds.resourceName = jdbc/myDataSource
ds.resourceRef = true
jdbcRealm = com.java.realm.MyRealm

# password hashing specification
sha256Matcher = org.apache.shiro.authc.credential.HashedCredentialsMatcher
sha256Matcher.hashAlgorithmName = SHA-256
jdbcRealm.credentialsMatcher = $sha256Matcher

jdbcRealm.permissionsLookupEnabled = true
jdbcRealm.authenticationQuery = SELECT password FROM users WHERE username = ?
jdbcRealm.userRolesQuery = SELECT role_name FROM user_roles WHERE username = ?
jdbcRealm.permissionsQuery = SELECT roleper FROM roles_permissions WHERE role_name = ?
jdbcRealm.permissionsQueryIP = SELECT ip FROM user_ip_permissions WHERE username = ?
jdbcRealm.permissionsQueryCountry = SELECT countryname FROM country_permissions WHERE username = ?
jdbcRealm.defaultPageQuery = SELECT default_page FROM users WHERE username = ?

jdbcRealm.dataSource = $ds
jdbcRealm.authorizationCachingEnabled = false

# specify login page
authc.loginUrl = /login.jsp

# redirect after successful login
authc.successUrl = /home.jsp

# roles filter: redirect to error page if user does not have access rights
# perms filter: redirect to error page if user does not have permissions
roles.unauthorizedUrl = /accessdenied.jsp
perms.unauthorizedUrl = /accessdenied.jsp

# request parameter with login error information; if not present filter assumes 'shiroLoginFailure'
# authc.failureKeyAttribute = simpleShiroApplicationLoginFailure

[urls]

/login.jsp = authc

# only users with some roles are allowed to use role-specific pages
/admin/** = authc,perms[page:*]
/java/** = authc,perms[page:javadeveloperpage]
/php/** = authc,perms[page:phpdeveloperpage]
/ruby/** = authc,perms[page:rubydeveloperpage]
/deo/** = authc,perms[page:deopage]

# enable authc filter for all application pages
/ApacheShiroLogin/** = authc

Thanks & regards

A: Since you want to deny access, logically you need to to throw AuthorizationException and map it to your custom page in web.xml
if(ipMatched == false){
    throw new AuthorizationException();
}

And in your web.xml
<error-page>
    <exception-type>org.apache.shiro.authz.AuthorizationException</exception-type>
    <location>/path/to/accessdeniedpage.jsp</location>
</error-page>

On a side note, throwing AuthenticationException would be logical only in case of authentication failures.

redpajama_set_name: RedPajamaStackExchange