text:
Q: Coffeescript Inheritance: Static variables/methods In other OOP languages, the following is a common form of abstraction
class AbstractClass
  myVar: null

  @doSomething: ->
    console.log myVar

class Child extends AbstractClass
  myVar: 'I am a child'

Calling Child.doSomething() should print "I am a child".
I should also be able to pass Child.doSomething as a callback and have it print the same.  I have tried all combinations of with or w/o @, using semicolons and equals to define myVar, I can't figure it out.  What is the proper way to do this in CoffeeScript?
edit
I think I oversimplified my example, because I can't get it to work (further edit: now working with this solution).  Here is the real code (with the suggested solution in place):
class AbstractController
  @Model: null

  @index: (req, res) ->
    console.log @
    console.log @Model
    @Model.all?(req.params)

class OrganizationController extends AbstractController
  @Model: require "../../classes/community/Organization"

In my routing file
(express, controller) ->
  router = express.Router({mergeParams: true})
  throw new Error("Model not defined") unless controller.Model?
  console.log controller
  router
  .get "/:#{single}", _.bind(controller.show, controller)
  .get "/", _.bind(controller.index, controller)
  .post "/", _.bind(controller.post, controller)

Passing OrganizationController to this function correctly logs the OrganizationController object, so I know it's getting there:
{ [Function: OrganizationController]
  Model: { [Function: Organization] ...},
  index: [Function],
  __super__: {} }

But when I hit that route, the two console.log calls print out
{ [Function: AbstractController]
  Model: null,
  index: [Function] }
null

And I get an error: "Cannot read property 'all' of null"

A: You were missing a few @s. The following prints I am a child:
class AbstractClass
  @myVar: null

  @doSomething: ->
    console.log @myVar

class Child extends AbstractClass
  @myVar: 'I am a child'

Child.doSomething()

But if you want to pass it as a callback function, you need to bind it to Child:
callf = (f) ->
  f()

callf Child.doSomething                # prints undefined
callf Child.doSomething.bind(Child)    # prints I am a child


text:
Bridging The Will-Be/Ought Gap
So I've been writing the last few days on a number of only tenuously related themes: cruelty and torture, probability and prediction markets, testability, middle-range theories, and moral realism. Today I'm going to try to draw these themes together and point to a couple avenues for further discussion.
Obviously, it's important to me that our normative judgments be 'about' something, something testable, and that there be something like the possibility of moral progress. These are the claims I'd like to 'mark to market,' but it's not clear how you'd go about doing that. If any of those claims are false, then my project is really doomed from the start. If they're true, I suspect that we might make better progress in morals by breaking our research questions into testable chunks, and once the chunks are testable, we can get betting markets to help push research and excite thinking. To believe something in the face of doubts is to believe it in a probably-unreflective probabilistic way, and the best measure of our reflective probabilities is some sort of market that can mix the 'show of hands' model of a poll or vote with some kind of buy-in or stakeholder ritual to incentivize informed deliberation while holding bad faith participants accountable.
But the truth of the matter is that, while I think prediction markets can be tremendously helpful in the natural sciences and in some of the middle-range theories required for political philosophers (mostly social scientific assumptions we build into our institutional design), I don't see much hope for closing the gap between prediction and normativity using markets alone. Too often, the obstacle is still the conceptual problem, the conditions of testability: disagreement on what counts as proof is usually going to trip up a futures contract, at least on the affirmative side.
On the critical side, however, there may still be room for this kind of falsification. In light of the X-phi movement, I think there is growing agreement that we can no longer ignore a set of questions usually dealt with in metaethics when doing ordinary ethics or applied ethics. These roughly correspond to the failures or major revisions of traditional ethical middle-ranged theories in deontology, virtue ethics, and utilitarianism.
Consider moral intuitions, which have long been the basis for deontology, even the Kantian deontology which requires us to find the result of some universalized maxim repulsive. The polling and fMRI evidence has been growing over the past decade, and it shows that we don't really form moral judgments in a dependable way. Too often, priming effects have a tremendous power over how we judge a situation, and irrelevant framing effects often cause respondents to favor one or another alternative. If that's true, then our unreflective moral intuitions are not to be trusted, and much of the "common sense" underwriting natural law and dignity theories is prone to self-deception. See, for instance, Jonathan Haidt's work, Peter Singer's "Should we trust our moral intutions?" or Woodward and Allman's "Moral Intuition: its Neural Substrates and Normative Significance." Particularly of interest to me is the way that the feeling of disgust often plays an intermediary role in our determinations of what is "just wrong." Kwame Anthony Appiah has some good examples of disgust misleading moral judgment in his book Experiments in Ethics, but perhaps stranger still is the role that disgust and taste plays in determinations of veracity!
Similar verification problems have been well-document in various accounts of character, the founding concept in virtue ethics, where various kinds of irrelevant priming, like being hurried, or having just found a quarter, are larger indicators of a person's likelihood to act charitably than anything internal or habitual. (Appiah covers some of this in Experiments, as well.) If I can't be depended upon to have a stable character, what good are habits? What hope is there for a general epistemic virtue like phronesis, if there's nothing like an excellence in identifying the minor premise? Combined with the growing acknowledgement of neuro-diversity, and our long-standing commitments to pluralism, both of which challenge the universality of the practical syllogism's major premise, it has become increasingly evident that old models for human flourishing just won't cut it any longer.
One middle-range theory that holds lots of promise for utilitarians is the moral heuristic, apparently conceived by the polymath Cass Sunstein. The obvious question is: if we know we can push heuristics with quandaries that lead to bad decisions, what happens when the world hits us with novel situations, as well? (Marc Hauser has charged that Sunstein's heuristics aren't testable: too vague!) But if we could somehow generate new heuristics, hopefully using carefully crafted exemplars, like narratives and stories that can serve as prototypes for the unique judgments required in the modern world, we may well be able to trump these limitations… even while leaving unresolved the question of what, exactly, we are obligated to maximize. (I'd love to find some preference utilitarians willing to take the other side of a bet on capability theory!)
In sum, we need a new ethics. (One that won't quit.)
Doing What's Right, Jonathan Haidt

redpajama_set_name: RedPajamaCommonCrawl


Sqlite WinRT for Windows Store Apps on Windows 8 platform.
Questions : Need to use SQLite-WinRT (SQLite-WinRT is for those developers who prefer to work with SQL statements rather than the object-oriented layer that LINQ gives you) in Windows 8 Store Application.
Machine : Windows 8, 64 bit O.S.
but non of then work.
3. Adding SQLiteWinRTPhone.winmd file which is got from Windows Phone 8 project, where SQLite for WinRT is working fine.
In above code when code execution reaches creation of db object it fails giving following error.
TypeloadException was unhandled by user code. Requested Windows Runtime type 'SQLiteWinRTPhone.Database' is not registered.
I got the creation of SQLiteWinRT using Linq but I don't want that. Can you please give me the proper way of using SQLite WinRT in WIndows 8 Store applications? Is this possible or not?
You can go to http://sqlwinrt.codeplex.com and download the source code from there.
thanks, prathap If a post answers your question, please click "Mark As Answer" on that post and "Mark as Helpful".
I want the SQLite-WinRT using SQL statements rather than the object-oriented layer LINQ.


Your MatchGirl found this recipe for cookies made with ricotta, cocoa powder and white chocolate chips. While I'm not actually that concerned about lessening the fat content through the use of ricotta, I'm interested in the texture and the taste.
I haven't had a chance to bake them yet, but I think they'll be great.


text:
WHS Sports Roundup
by Transcript Staff • February 28, 2020 • 0 Comments
WHS boys edged in tourney opener, 1-0
The Winthrop High boys hockey team came up just short, 1-0, to Triton in a first round contest in the Division 2 North Sectional of the MIAA State Hockey Tournament Tuesday evening in Stoneham.
The Vikings entered the tourney as the 12th seed among the 16 teams in the D-2 North with a 9-8-3 regular season record. Triton was the fifth seed in the D-2 North with a 14-4-2 mark.
Lady Vikings tie Wakefield in finale; move onto tourney
The Winthrop High girls hockey team was scheduled to open play in the MIAA Division 1 State Hockey Tournament last night (Wednesday) against Belmont. The Lady Vikings, who compiled an 8-7-3 record on the season, entered the tourney as the 26th seed among the 32 teams who qualified for the post-season in D-1. Belmont is the seventh seed with a 13-3-4 mark.
The winner of last night's encounter will advance to the Sweet 16 and will face the winner of the contest between Waltham and Whitman-Hanson.
Coach Anthony Martucci's crew wrapped up their regular season schedule with a 2-2 tie against Wakefield, the identical score of the first meeting between the teams in early January.
The Lady Vikings came out of the starting gate on fire, pelting the Wakefield goalie with shots and playing very smart, fast hockey. The early Winthrop onslaught translated into two quick goals.
The first came via a picture-perfect play among Winthrop's top line which has come to be known as "the backpack line." It began with a nicely-executed drop pass just below the Wakefield blue line by Julia Holmes to her sister Emma. Emma took the puck and moved in on goal, drawing the two Wakefield defenders toward her. She then slid a well-placed pass to Mia Martucci, who was breaking toward the goal and who tapped the puck into the back of the Wakefield net.
"That was as pretty a play as I have seen all season," said Martucci.
"The backpack line has been great all year for us. They have carried the team offensively, hence the name 'backpack line.' Julia and Emma Holmes, along with Mia Martucci, are 1-2-3 in scoring on our team with 21-20-19 points respectively."
The Lady Vikings made it 2-0 just a few minutes later when they caught Wakefield in the midst of a line change. Jenna Lindinger served up the puck on the proverbial platter for Julia Holmes, who ripped a one-timer, top-shelf.
"This was probably the best shot I have ever seen Julia take, and I have been coaching her since she was eight years old," noted Martucci.
The Lady Vikings began the second period much as they dominated in the first. Winthrop had chances to put the game away several times, especially on a 5-on-3 power play for just under the full two minutes, but failed to capitalize on their opportunities.
"I think that took the wind out of our sails and gave them some life," said Martucci. "I don't believe in momentum, I believe in execution, and we just did not execute when we needed to."
Winthrop came out a little flat in the third period and had two defensive zone breakdowns that allowed Wakefield to bring the contest back to level.
"It is something that will kill us if it happens in the tourney," Martucci said. "Credit Wakefield for capitalizing on our mistakes and working hard to get the two goals back. The game ended that way, and although we would have liked to have won the game. We just did not do enough to get it done.
"The Belmont game will be a great contest," Martucci added, speaking of his team's opening round tourney opponent . "I know how well-coached that team is, and that they are very fast. Their rink is one of the coldest in Mass., and it is a tough place to play. One thing I can promise you is that we will be ready, and we will do our absolute best."
Four Lady Vikings, Summer Tallent, Mia Martucci, Julia Holmes, and Emma Holmes, were named to the Northeastern Hockey League All-Star team and participated in a skills competition at the Peabody rink this past Friday.
The Winthrop quartet were standouts at the event. Emma Holmes won the breakaway contest; Mia Martucci recorded the hardest shot; Julia Holmes had a time of .15 seconds in the fastest-skater competition, coming in third out of 12 skaters; and Summer Tallent was the fastest-skating goalie with a time of .18 seconds.
Viking hockey boys top Saugus to reach Tourney
The Winthrop High boys hockey team won its final game of the season, defeating Saugus 5-1 last Wednesday, to clinch a berth in the MIAA Division 2 State Hockey Tournament.
Captain Joe Deeb, assisted by Jack Sicurella, gave the Vikings a 1-0 edge in the opening period, but Saugus responded with a lamplighter early in the second period to bring the contest back to level.
However, from that point on the battle belonged to the Vikings, who responded with four unanswered goals.
Connor Hurley, assisted by Deeb, put Winthrop back in the lead before the middle period ended and the Vikings scored three unanswered goals in the final frame to skate to the win.
Ari Hain, assisted by Captain Mike Brooks, made it 3-1, and JD Parker, assisted by Jonathan Lanza and goalie Ryan Hovermale, added another insurance marker.
Senior Mike Fitzpatrick, dressed to play in his first varsity contest, applied the coup de grace with a lamplighter with 17 seconds to go, assisted by Conlan Petersen.
Hovermale made 22 saves to record the victory,
For the Vikings, who entered the fray with an 8-8-3 record, the triumph punched their ticket for a Journey to the Tourney, which they opened this past Tuesday evening against Triton.
Two Vikings, junior Joey Holgersen and senior captain Mike Brooks, were selected to the NEC All-Star team and represented Winthrop in the all-star contest that was played this past Saturday at Salem State University.
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Guest Op-ed Nursing Home Care – A National Issue →


Begin the day with a review of all the latest news on the regulatory front. Hear directly from AEA's Ric Peri and other invited guests to learn about the most recent and important issues impacting the industry.
Always a standing-room-only capacity, this year's AEA regulatory leadership panel covers the major issues affecting the international repair station community. Executives representing the Federal Aviation Administration, Transport Canada Civil Aviation and the European Aviation Safety Agency have all been invited to this exciting and informative session.
If you are concerned how the U.S. and international economy may affect your business in the next 24 months, don't miss this enlightening presentation by a renowned economist.
How will avionics manufacturers and repair stations be affected by international economies?
What can you do to experience growth and profits in the next 24 months?
How will smart business people succeed during a debt-ridden environment?
How will policies, programs and new tax structures affect your business?
Dr. Chris Kuehl is a managing director of Armada Corporate Intelligence, providing forecasts and strategic guidance for a wide variety of corporate clients around the world. He is the chief economist for several national and international organizations. Dr. Kuehl also serves as the economic analyst for the NBC, Fox and ABC affiliates in Kansas City, Mo., as well as CNN.
Prior to starting Armada in 1999, he was a professor of economics and finance for 15 years, teaching in the U.S., Hungary, Russia, Estonia, Singapore and Taiwan. He has received advanced degrees in economics.
In his personable, easy-to-understand style, Dr. Kuehl will share his economic forecast for the U.S. and global economies, and give a forward-looking analysis of trends to watch.
In order to thoroughly and knowledgeably consult with your customers on the avionics requirement for NextGen, we must move beyond ADS-B. The AEA is gathering a panel of experts to share vital information beyond the basics of the ADS-B Out mandate.
As an industry, there has been discussion about incorporating RNP and datalink into best-equipped, best-served flight operations. This session will discuss the technologies that will facilitate the FAA's best-equipped, best-served agenda. In addition, as these technologies move from advisory to primary CNS, how will it impact the installation, certification and operation of these technologies? Don't miss this informative session!
The AEA represents nearly 1,300 member companies in 42 countries around the world. Avionics components are shipped worldwide, and aircraft are maintained and modified globally. Many of the world's regulatory authorities have worked tirelessly to develop treaties and agreements to facilitate this international movement of goods and services. This panel session will investigate the opportunities and limitations of these international aviation agreements. Become informed from the experts: Learn how bilateral agreements may affect the future growth of your business.
EASA has introduced a game changer for EASA-approved Part 145 repair stations: SMS.
With a philosophical shift and the injection of safety management into the repair station management regulations, the NPA can have a significant negative effect on the operation of EASA-approved repair stations. This session will thoroughly review the EASA proposal for SMS, the enhancement of human factors and, finally, the incorporation of fatigue risk management. With a closing date of late April, any AEA member that holds an EASA 145 should attend this review session.


text:
Мале Байдеря́ково (, ) — селище у складі Яльчицького району Чувашії, Росія. Входить до складу Малотаябинського сільського поселення.

Населення — 20 осіб (2010; 55 у 2002).

Національний склад:
 чуваші — 96 %

Джерела

Примітки

Посилання
 На Вікімапії

Населені пункти Яльчицького району
Селища Чувашії

redpajama_set_name: RedPajamaWikipedia


text:
Home»Archives » Come together… Club owners Kenny Efird and Joe Ferguson combine their skills and connections, bringing hard rock to downtown Greensboro
Come together… Club owners Kenny Efird and Joe Ferguson combine their skills and connections, bringing hard rock to downtown Greensboro
Comments Off on Come together… Club owners Kenny Efird and Joe Ferguson combine their skills and connections, bringing hard rock to downtown Greensboro
On a downtown rooftop the afternoon sun banks from tinted windows on the Jefferson Pilot building and scatters off the white gravel surface. Two Greensboro bar owners drift around the roof while a photographer, kneeling low to the ground, gauges the best way to capture the light.
Kenny Efird stands with his hands on his hips, the balmy breeze billowing his sweatpants and riffling his T-shirt. He's got a Carolina cap spun backwards on his head and when he's done with the photo shoot he'll go work out with one of his barmen and then get right back on the roof to tinker with the air-conditioning unit. This is his building, his roof, and below is the two-story club he owns known as Greene Street. He's got plans for this open space '— over the next year he intends to build a rooftop appendage of the business downstairs, a warm-weather club with a tropical motif, complete with tiki torches, palm trees and slinky waitresses in coconut bras. Today, though, his mind is on the a/c unit and the weight room and the beer deliveries and a hundred other things.
Joe Ferguson, owner of Ace's Basement, paces in the shadow cast by a brick wall, speaking over his cell phone to one of his guys.
'"Well see if you can get him to do that,'" he says calmly, and then flips the phone shut. He's lean, in boots and jeans and a black pullover, with a tousled mop of curls that makes him look ten years younger than he actually is.
They're together for the photo shoot, but also to discuss business and mutual interests at one of the cocktail tables in Kenny's bar downstairs. Sure, they're both bar owners fighting to fill their houses at a time when Greensboro barrooms are becoming as common as churches or fast-food restaurants. However they both acknowledge the differences in their clubs, differences that make them practically mutually exclusive '— there are not too many people in Greensboro who choose between Ace's Basement and Greene Street when they decide to hit the town. Greene Street is a big, shiny downtown nightclub while Ace's Basement is an underground rock pit by the coliseum, heavy on street cred and loud tunes but not the kind of joint where you'd hold a Jaycees mixer, unless the Jaycees events planning committee underwent a strange and demented coup.
Each club has seen success over the years for very different reasons. And each club owner brings something unique to the cocktail table at Greene Street, where they'll work out the details of their joint venture, a collaboratorial series of events that both see as the natural progression of their respective businesses.
It's daylight outside, but you wouldn't know it from the subterranean cluster of rooms beneath the Coliseum Inn, a dimly lit space with cheap commercial carpeting and thin wood paneling that is the home of alternative rock in Greensboro and the Triad, perhaps the whole state and maybe even the entire Southern Atlantic Seaboard. With a prime location between Washington, DC, and the vast and widespread network of Southern rock clubs, Joe's been luring national acts off the road since he opened two years ago. He'll celebrate the anniversary on May 7 with local heroes House of Fools. Another band on the bill is Bella Lea, a modified version of the band Denali, the first to ever grace the Ace's stage. He's expecting a full house.
Joe came to the bar business in a roundabout way. He's more a behind-the-scenes showman with an instinct for promotion, Greensboro's hard-rock version of Bill Graham. He got his start in business as a teenager attending Western Guilford High, hustling rare baseball cards at flea markets and then trying his hand at promotion with a card show to benefit the school's baseball team his senior year. He worked the circuit for a while, promoting local shows and cultivating organizational skills that serve him well to this day. He drifted into the rock scene while still in his twenties and lamenting the lack of music that spoke to him. He made phone calls and improvised venues, stacking acts that nobody had ever heard of. Except for their fans.
His first 'real' show was at Rider's in the Country.
'"That's the first place I booked a show at a real venue,'" he says. '"It definitely started there. That's how I ended up here.'"
'Here' is down in the basement, empty in the afternoon, with band stickers on the urinals and red and green walls that hold up rock posters, Beatles pics and a sign reading: 'No crowd surfing please. Do not get on stage,' walls saturated with the art of noise that's been created down here regularly since Joe put out his shingle. His rock shows draw fans of all ages '— most of his shows are open to all ages and it's not uncommon to see parents down here with groups of teenage children, bracing themselves against the aural assault. Joe sells earplugs behind the bar for 50 cents.
'"Everybody was asking for 'em,'" Joe says.
Joe listens to his customers. He listens to his bands, too. And when he saw that lots of them didn't have proper promotional tools like demo CDs and video footage, he had a lightbulb moment.
He started Shoot the Moon Media and wired his joint with digital video cameras and high-tech sound gear so he could record his bands live, offering a service as well as a venue. As far as he knows, his is the only club to offer this service for hundreds of miles around. Now, he says, '"I don't hand out my business card; I hand out videos and they show their friends.'" Now bands on the circuit know about Ace's Basement and they try to squeeze gigs in there so they can see themselves on TV.
Shoot the Moon Media has been making videos for about a year now, and Joe has parlayed them into a TV show of the same name, 30 minutes of live video and interviews shown regionally on the Warner Brothers network. '"By fall the plan is to be in a hundred small markets across the country,'" Joe says. He's also delving into the record label aspect of the business and forming closer relationships with the bands as well.
Joe's made a name for himself, but a lot of the acts that call him have never seen the club itself. Ace's is the perfect venue for rock shows, dark and a little bit dirty, but it's not the kind of room that can attract well-known names or hold the crowd they'd draw. Joe was getting calls from national booking agents with acts and names that, as he says, '"don't necessarily make sense for Ace's.'"
Like, say, Vince Neil, whose agent is wired into the same network of club owners and booking agents as Joe. Even though Vince came up playing clubs like Ace's Basement, it's not the kind of place he hangs out in these days.
It's Tuesday, a couple of days before the Motley Crüe after-party at Greene Street and Kenny sits on the screen porch of his house, a place he's renting while awaiting the completion of his downtown condo. The move will bring him closer to his work, his club, and to downtown nightlife. It's a move he makes not without trepidation. Yeah, he loves the nightlife and, sure, he's got to boogie, but the new digs at Smothers Place will put him awfully close to the disco round, oh yeah. This house, the one he's renting, is set far back enough from the road that one can harbor the illusion, at least, of being a little farther out in the county.
Kenny hails from Albemarle, a town of some 15,000 between lakes Tillery and Badin. He grew up there, played a little football and came to Greensboro to seek his fortune. He says he was working '"in computers,'" when he first saw the building on Greene Street, the one that used to be Triad Bank, with ultra-high ceilings, hard-edged acoustics and an upper deck that circled the main room with views to the floor.
'"It's set up to be a club,'" Kenny says from his porch. '"You couldn't have picked a better building for it.'"
He got together with a partner, Ashe Jenkins, and together they set the wheels in motion to build a premier nightspot in downtown Greensboro. This was back in 2001, when people still thought nobody would ever go to a club downtown '— before M'Coul's, before Solaris, before Longshanks and the Green Bean and Center City Park, before Southside and the ballpark, when they still turned off the streetlights and rolled up the sidewalks by 6 p.m.
Greene Street was among the first.
Kenny poured his energy into the foundation here: room, logistics and staff, the superstructure upon which he'd build his club. He was flexible about theme and scope. Over the years he tried comedy shows, big-room music acts, themed music nights, private events and dance party weekends. The club has since evolved into a room that's open from Wednesday through Saturday with drink specials, DJ nights and the local live stuff here and there. He's had the same staff pretty much since there was sawdust on the floor. Kenny and his bartenders, known in some parts of town as the 'Greene Street Mafia,' all operate the club together, but they also hang together, hit the gym, take deep-sea fishing trips and days off at the beach. Kenny's got a posse, and they keep it tight.
Kenny's also ploughed much of his profit back into the bar itself, constantly adding touches like the booths in the upstairs barroom and the VIP lounge cordoned off by stone pillars, the place Vince Neil will be hanging after the Crüe show in a couple of days.
The Vince Neil after-party is the first venture between these two bar owners (for firsthand coverage see pages 9- 11). Joe's got the connections and Kenny's got the room, the staff and the downtown location that ensures high visibility. Kenny orders the beer and deploys the bartenders and security staff; Joe takes care of the details, gets the word out and sells tickets online through his website. It's a perfect model of symbiosis, like the clownfish and the sea anemone, and if everything goes as planned then downtown Greensboro will become a decidedly more rocking place. After the Vince Neil party, Joe has booked '80s scare-hair band A Flock of Seagulls for the Greene Street stage on June 4. After that, who knows?
'"He's got a great room,'" Joe says of Kenny's bar. He's seen the sound system and scouted places for video screens that he'll hang on the walls. Kenny's going over his booking calendar to spot openings on the schedule and anticipating the needs of thick crowds.
It's a perfect circle.
Joe and Kenny are on the ground floor of Greene Street now and the photographer sends them behind the bar, instructing them to make a toast for a photo op. There aren't any Champagne flutes, and there is a discussion about using wine glasses with ginger ale in them or something like that when Kenny shrugs his shoulders, pulls a couple Buds from the beer box and hands one to Joe.
'"That'll work,'" Joe says and he takes the top off with a quick twist. He raises his drink and the eyes of the bar owners meet. The each give a slight nod and take swallows from their bottles.
To comment on this story, e-mail Brian Clarey at editor@yesweekly.com
Shakori Hills Grassroots Festival of Music & Dance.
Movies for the week of April 20


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text:
Mexicanist
Mexico at a glance
before Costalegre
beyond Costalegre
types of sports bets
Militant in Puebla cooks crocodiles and boasts on social networks
According to the local media, Juan Núñez, who was a substitute candidate for a local deputy and currently a member of Movimiento Regeneración Nacional (militia), presumed on social networks to have cooked two crocodiles, a fact that was immediately repudiated by the netizens and inhabitants of the area and is that they are protected species by the federal government.
Militia cooked two crocodiles. Image: screenshot
The husband of the Huejotzingo Health Councilor, Jossary Gissele Mercado, said that the animals were marinated and then roasted to serve as a saucer during the meal of the first Masonic Lodge in Huejotzingo as part of the Valley of Mexico.
The animals were marinated and then roasted to serve as a saucer during the meal. Image: screenshot
The above caused the annoyance of the cybernauts who even requested the intervention of the competent authorities because the crocodile is protected by the Mexican norm in environmental matters.
Roasted crocodile. Image: screenshot
Militant in Puebla cooked the crocodiles and boasted on social networks. Image: screenshot
VIDEO: Jaguar kills and devours a crocodile in Tulum
Puerta 7, the new original Argentinian series by Netflix about the world of the barras bravas
One Christian in eight is discriminated against in the world


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About/Bio
Bio/Press Kit
Js Ruckus
KStreetband
Jason Klobnak Quintet/Quartet
Jason Klobnak Joins the B.A.C. Family!
Jason Klobnak Joins the Denis Wick Family!
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JKQ
Jazz Etudes
Lesson on Harmony
Trumpet Routine
Jason Klobnak Music »
Improv Tip Week #16-Motifs part 2
/ Jason Klobnak Music	Melody/Motifs	Weekly Improv Tips
/ By	jasonklobnak
Welcome back to our current series on motifs. Last week we talked about some of the different elements we can manipulate to develop a motif. This week, we're going to look at how we can develop motif's by changing up their rhythm. There's a number of different ways we can change up the original motif's rhythm. You can keep the same spacing and delay the motif by a determined quantity (i.e. delaying it by an eighth note, quarter note, etc) or by anticipating it by a determined quantity (i.e. pushing it by an eighth note, quarter note, etc). You can change the original motif's rhythm by doubling it's speed or slowing it down. You can also change the original motif by breaking it up and making it more syncopated (or less syncopated depending on the original motif). These are just a few of the ways we can manipulate the motif. Let's look at a few examples:
Here's our original motif…
Our first example below, we're going to push or anticipate the original motif by an eighth note. However, in this example I'm still going to keep the original motif on beat 3 of each measure. To create some more interest in the line, I'm adding to the original motif in the third and fourth measure (but the motif is still present).
In our second example below, we're going to delay the original motif by an eighth note. This time, we're going to move the motif over by an eighth note each time it's presented. To create more interest to the line again-I'm adding to the original motif in the fourth measure.
In our third example below, we're going to break up the original motif by making it more syncopated. You'll notice that in the second measure, we're still using the original notes of the motif. However, we've inserted an eighth note rest in between each note to make it syncopated. It then is connected with another line that connects it back to another motif before we add in something different in the fourth measure.
All of the examples above are very short and brief to show what changes are being made to the original motif. The fun and challenging part we have as improvisers is taking the original motif and developing it using all of the rhythmic ideas listed above (as well as chaning the notes, contour, etc). For an exercise this week, take the original motif above and see what you can do rhythmically with it over a blues or jazz standard. Make your first couple of attemps simple changes to the motif over an entire chorus. After you get the hang of it-develop it more by varying the rhythm and adding more syncopation.
I hope you've enjoyed this week's tip on our Motifs series. If you've found this helpful, share it with your friends on Facebook, Twitter, LinkedIn, Google+ or any other site that you're a contributor. I would love to have this blog (as well as my book) helping as many people as possible. Having you talk about it with your friends on other networks or sites really helps draw interest and allows all of us to dialogue and help each other out on our improvisation journey. I also enjoy all of the comments and feedback that you have…so keep them coming! If you haven't checked out my book yet, you can click on the link to the right of this tip or by going to Jason Klobnak Music.
About the Author	jasonklobnak
Jason Klobnak is a versatile trumpet player that has been performing as an active musician, author, clinician, composer and educator. His band, J's Ruckus, is Denver's blend of Post-Bop, Soul, Gospel, and Hip-Hop. They perform infectious and up-lifting originals for audiences hungry for a memorable live experience. J's Ruckus released their latest album, Suck Less, in March of 2020 and their first EP, Sermons, in July of 2019. Both were recorded live in front of an audience. Suck Less was recorded to a packed auditorium at Arapahoe Community College's Waring Theater in Littleton, CO. Sermons was recorded in front of a sold out crowd at the Soiled Dove Underground. The JKQ (the Jason Klobnak Quintet/Quartet) is Mr. Klobnak's Hammond B-3 centered groups. The JKQ released their third full-length album in March of 2018 called Friends & Family. It has been very well reviewed, on numerous Top 10 lists for Jazz radio stations across the country (including Denver's KUVO 89.3FM which named it May 2018's CD of the month), and in Jazzweek's Top 100. Each composition was written for specific family and close friends (that might as well be family). Their second album, New Chapter, was recorded in part thanks to the Pathways to Jazz Grant from the Boulder County Arts Alliance. In 2015 and 2016, New Chapter was in the Top 75 on the Jazzweek charts and on the Top 10 playlists for over a dozen radio stations worldwide. Their first album, Mountain, Move made the Best Recordings of 2013 list from AllAboutJazz.com by C. Michael Bailey. His very well reviewed Christmas single, Hark the Herald, in 2016 as part of a creative project with musicians James Roberson and Nathaniel Kearney Jr. Besides the JKQ, Mr. Klobnak is a B.A.C. (Best American Craftsman-custom trumpet), Denis Wick (mouthpiece and mutes) and Westone Audio endorsed artist (ES20 and Tru Customs). Mr. Klobnak has played and recorded for numerous groups ranging from jazz, soul/R&B, indie-rock/pop and gospel. In addition to performing, he has also written two improvisation-based books called Targeting: Improvisation With Purpose and Breaking the Monotony and is currently an adjunct professor and brass instructor at Arapahoe Community College. Mr. Klobnak holds a bachelor degree from Drake University (Des Moines, IA) and a Master's degree from the University of Denver, Lamont School of Music (Denver, CO).
A Modern Jazz Trumpet Practice Routine & Play Along
Visualizing the Pentatonic and Targets
Key of C Pentatonic Target Examples
The End Is Here
Copyright 2021 by Jason Klobnak Music, Inc. All Rights Reserved
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BSD-500
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BSD-2000 3D/MR
BSD-2000 Clinical Studies
Phase III Clinical Evidence
By Indication
Hyperthermia Blog
News and Opinions About Our Industry
Kirloskar Group Brings Hyperthermia Cancer Treatment to India
Pyrexar is proud to welcome Kirloskar Technologies to its distributor network. Kirloskar Technologies, popularly known as KTPL, is part of the 100-year-old, multi-billion dollar conglomerate, the Kirloskar Group.
Kirloskar has been a successful healthcare enterprise for more than two decades, offering a multi-disciplinary product portfolio catering to the fields of Cardiac Surgery, Interventional Radiology, Interventional Cardiology, Neurosurgery, Nuclear Medicine, Oncology, Radiography, Vascular Surgery, Minimal Invasive Surgery, and Plastic & Reconstructive Surgery.
According to cancerindex.org, more than 1 million people were diagnosed with cancer in India in 2012. Cancer death rates stand at 680,000 each year. The National Cancer Registry puts breast cancer as the most common cancer for women in India, with cervical cancer in second. It is estimated that for every two women newly diagnosed with breast cancer, one dies. Every 8 minutes, a woman dies of cervical cancer. The good news is that hyperthermia is a highly effective adjunct treatment of both breast cancer and cervical cancers.
India represents a significant expansion into Asia for Pyrexar. India accounts for one-sixth of the world population, ten times greater than the population of the United States. Kirloskar believes that Pyrexar's hyperthermia line is an excellent companion to their radiotherapy product offering, and the therapy will play a necessary role treatment of cancer in the country. There are some real advocates for hyperthermia in the region. We believe these influencers can help bring awareness and acceptance of the technology to cancer centers throughout India.
New hyperthermia installation in Rome
Protons, Protons, Protons
U of M Proton Center Celebrates Milestone
Thermal Oncology @ Maryland Proton Center
Can Hyperthermia Improve Particle Beam Therapy?
Busy Week For Hyperthermia
Thermal Oncology Team Training - Hanoi
Can Hyperthermia Improve Particle Beam...
PYREXAR Medical is the pioneer and worldwide market leader in the development and manufacture of innovative and highly effective hyperthermia treatment systems with established global distribution.
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U of M Proton Center Celebrates...
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AS a child of Detroit, Harlemm Lee says soulful music runs through his veins. Mr. Lee has sung R & B in talent shows, in musicals at Disney World and even on an album he recorded in the 1980s as he pursued a music career after high school.
Then in 2003 he won the NBC reality show "Fame," gaining national attention and another record contract. Mr. Lee thought it was his big break, but he is about to turn 40 this year and is still working as a secretary, still waiting to make it as a singer.
Of all the factors that have shaped his career in a fickle industry, Mr. Lee said he is sure about the one that has hurt him most: looking Chinese.
There are Asian-American stars in sports, movies, television and classical music. But the "Asian thing" is what Mr. Lee and many other aspiring Asian-American singers say largely accounts for the lack of Asian-American pop stars. People in the music industry, including some executives, have no ready explanation, but Asian-American artists and scholars argue that the racial stereotypes that hobble them as a group — the image of the studious geek, the perception that someone who looks Asian must be a foreigner — clash with the coolness and born-in-the-U.S.A. authenticity required for American pop stardom.
Asian-Americans may be expected to play the violin or know kung fu, some artists and scholars say, but not necessarily to sound like Kanye West or Madonna, or sell like them. The issue came to the fore most recently on "American Idol," where a Korean-American contestant, Paul Kim, 24, said he was giving music one last shot after many disappointments.
Some in the music industry note that there is no dearth of Asian-Americans or Asians of mixed race in the ranks of successful record producers (Chad Hugo of the Neptunes), rock bands (Mike Shinoda of Linkin Park) and pop and hip-hop groups (Nicole Scherzinger of the Pussycat Dolls and Allan Pineda Lindo, whose professional name is Apl.de.Ap, of the Black Eyed Peas), and musicians in general.
But where is the Asian-American Justin Timberlake, Prince or Christina Aguilera?
Scores of young Asian-American singers are trying to become that artist. Like aspiring musicians of all stripes, they have created their own parallel universe, and many are writing songs and putting out music on the Internet, playing shows in small clubs and Asian festivals and sometimes starting their own labels. Some get play for their songs and videos on niche cable television channels and a few are even performing abroad and recording in Asian languages. In fact, some South Korean entertainment companies regularly hold auditions in cities like Los Angeles to scout for Asian-American talent.
Some are being signed, but the roster tilts heavily toward mixed-race Asians whose looks are racially ambiguous, like Cassie, an R & B singer of Filipino and African-American descent whose song "Me & U" was one of last year's hottest summer hits, some Asian-Americans artists noted.
In this parallel universe, there is even an Asian-American Idol contest in the San Francisco Bay Area, which has a large Asian population. The contest has been held by Element, an event production company, for as many seasons as the national show has run on Fox.
Christine Joy Villano, whose professional name is Christine Joy and who won this local Idol contest four years ago, said she tried out for "American Idol" in 2004 with her version of Aretha Franklin's "Natural Woman," but didn't make it past the auditions. Last fall, she moved to Atlanta to pursue her music career more seriously.
Some artists say so much is percolating in the underground that more Asian-American talent is bound to start bubbling up soon.
"I feel that we're on the brink of something huge and it's just a matter of time and effort," said Natalise, who lives in Los Angeles and is recording her third album on her own label.
A talent executive with a major label who spoke on condition of anonymity because he was not authorized to speak for his company said he knew of no "inherent bias" against singers of Asian descent and said he was at a loss to explain why so few make it to the top. "It's a matter of who contacts you, who gets representation, who builds a following, who's out there playing clubs that people hear about," he said.
Natalise's manager, Andy Goldmark, said that Asian-Americans have lagged behind not because of discrimination but because they have yet to create their own popular music sound the way African-Americans and Latinos have.
"Asian-Americans have tended to follow what's going in the pop world rather than use the Asian-American path to invent new things," said Mr. Goldmark, a songwriter and music producer and a former vice president for talent at Jive Records.
He said many artists are beginning to find their voice and are incorporating Asian instruments into their music or writing lyrics that address issues like how Asian men feel about Asian women who date Caucasians.
But Asian-American artists face other challenges. Making up only 4 percent of the country's population, they are too small a market, and too fragmented in language and nationalities, to offer a solid springboard for its aspiring stars the way other ethnic groups have done, said Oliver Wang, a music journalist who teaches about race and popular culture at California State University in Long Beach.
That is why the case of William Hung stings, some artists admitted. Of all the Asian-American singers trying to make it, the one who seemed to have no trouble finding the limelight was a comic figure. "For Asian-Americans it was a collective cringe," said L. S. Kim, a professor of film and television studies at the University of California at Santa Cruz.
But Mr. Hung, 24, a Hong Kong native and an only child who lives with his parents in the Los Angeles area, takes exception to those who think he is a joke. And if he is a joke, he is at least a profitable one.
That is also the philosophy of the rapper Jin, who already has a name in hip-hop circles but is still aiming for the hit song that will propel him into the stratosphere. A 24-year-old who gained fame about five years ago by winning freestyle rap battles on BET, Jin (whose last name is Au-Yeung) was signed to the label Ruff Ryders but his album did not sell well. So he went back to basics, growing his fan base through the Internet and his own label. Recently, he released an album in Cantonese, "ABC," in which he raps about being an American-born Chinese man.


text:
Four illegal migrants from India detained border guards in Transcarpat...
Four illegal migrants from India detained border guards in Transcarpathia
At night, the border guards of the Mukachevo detachment detained four illegal migrants from India as part of the Cordon-2017 operation. The men who moved to the neighboring country, discovered, with the help of the night vision device, the border dress of the Great Pallad department.
Realizing that they were exposed, illegal migrants tried to escape. In order to hold them back, law enforcement officers had to take several warning shots up. Soon, at a distance of 70 meters from the state border, four men between the ages of 22 and 41 were detained.
No documents were detained by anyone with them. The frontier guards traveler reported that they were citizens of India and intended to illegally cross the border with Hungary in order to further improve their living conditions in one of the EU countries.
The detainees were taken to the border unit. Currently, filtering and verification measures are in progress, all the circumstances of the event are set.
For an attempt to disturb the state border with foreigners drawn up protocols on the administration of the offense, the case will be referred to the court.
In Lviv region and Sumy region border guards detained three illegal migrants
The guards of the bridge of Mostysky and Sumy border detachments found aliens-perpetrators who intended to illegally cross the state bord...
At night, the border guards of the Mukachevo detachment detained four illegal migrants from India as part of the Cordon-2017 operation. T...
The trunks were playing in the villages of Turki, yakі letili to Nimecchini, falshivi documents
At night, the border guards of the separate checkpoint "Kyiv" at the airport "Kyiv" found in the passports of two foreigners border cross...


Use the form below to contact accommodation BLN SOL HOTEL HENRI directly.
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The stylish Residenz-Bar is open until late and there is a separate smokers' lounge. Guests can enjoy light snacks at the property from Monday to Saturday at no extra cost at the lounge.
Additionally, dry cleaning, laundry facilities, and a 24-hour front desk are onsite.
BLN SOL HOTEL HENRI is a 10-minute walk from Berlin Zoo, Kaiser-Wilhelm Memorial Church and the Zoologischer Garten Train and Underground Station. There is a public car park directly opposite.
Private parking is possible on site (reservation is not needed) and costs EUR 13 per day.


text:
Q: Node.js sharing the same HTTP agent across service calls I have a node.js backend that connects to external service via HTTP request.
I am using the node.js HTTP to manage my requests. My question is about how to properly use Node.js http Agent with the keep-alive option.
The official documentation explains that we should create a new Agent and pass it to the request. This is the same for all the examples I found. They all do something like this:
const http = require("http");

const agent = new http.Agent({
    keepAlive: true
});

const options = {
  host: 'myserver.com',
  port: 80,
  path: '/',
  method: 'GET',
  agent: agent,
};

const req = http.request(options, (res) => {
  console.log("StatusCode: ", res.statusCode);
});

*

*Since my agent has keepAlive turned on I should create only one instance of the agent, save it somewhere (static?) and reuse it everytime I do a request to that service. In other words, I should only call new http.Agent one time when my backend is created and keep using the same instance, otherwise I would be created a new agent for every request. Is this correct? is there a better way of keeping the agent instance other than making it global or static?

*I don't know if I'll be able to get an answer here or better as AWS directly, but let's say my backend is a AWS lambda fucntion, how can they share Agents between invocations, as lambdas are short lived, does it even make sense to have keepAlive for that use case?
Thank you for any clarification.

redpajama_set_name: RedPajamaStackExchange


text:
Zimbabwe home
Support children and families affected by Cyclone Idai.
Plan International has been operating in Zimbabwe since 1986 to tackle the root causes of discrimination against children.
Our community-driven work supports vulnerable children, especially girls, to confidently assert their rights and influence policy-making at national, regional and international levels.
Through strategic partnerships with like-minded organisations and the government, we reach the most marginalised children.
We operate in the districts of Bulawayo, Chipinge, Chiredzi, Kwekwe, Mutasa, Mutare, Mutoko, Mwenezi and Tsholotsho.
Our key areas of work include:
Supporting children to learn from pre-school to secondary school age
Keeping children safe from all forms of abuse so they can participate safely and confidently in society
Ensuring children grow up in good health
Supporting young people to gain the skills and knowledge they need to earn a living.
Education in Emergencies after Cyclone Idai
Education is always the most under-funded sector in an emergency, and we are urging the national government-led response and international donors to ensure this time it is different. We plan to work with the respective governments to ensure the consideration of education in the Cyclone Idai emergency response, particularly the need to build back better.
Skills training transforms the futures of young women
Tracey, 20, from Zimbabwe describes how a skills training programme has changed her life and allowed her to dream of a big future.
I met girl survivors of Cyclone Idai. They will struggle most to recover.
Tinotenda Hondo is on the ground in Zimbabwe. She's mindful of what everyone affected is struggling through but knows girls face most barriers on the journey to recovery.
Southern Africa cyclone appeal
Tropical Cyclone Idai has caused widespread destruction and loss of life across Mozambique, Malawi and Zimbabwe. Help us address the needs of children affected by the crisis.
7 Lezard Avenue
Milton Park, Harare, Zimbabwe Private Bag HG 7232
Highlands Harare
0772 124 124-6
zimbabwe.co@plan-international.org


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Ask a rep at your favored bank to set you up with a business bank account, it's a need to-have if you're arranging to dropship. Without it, you will not be capable to accept payments on the internet via credit card. An alternative is to accept payments only by means of PayPal. A business bank account is an entirely separate point from a regular checking or savings account.
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