text:
SHREWSBURY: HISTORICAL PLAQUE INSTALLED
Forty-three years after the Shrewsbury Historic District attained placement on the National Register of Historic Places, community members marked the installation of a commemorative plaque outside Borough Hall on September 10.
The district, in the vicinity of Broad Street and Sycamore Avenue, won the national designation in July, 1978, two years after the New Jersey equivalent was awarded.
Marking the occasion, the Shrewsbury Historical Society was joined by borough officials, religious leaders, members of Boy Scouts Troop 50 and local history lovers in Colonial-era costumes. (Photo by Shrewsbury Historical Society. Click to enlarge.)
September 20, 2021 - 11:45 am | Comments ()
RED BANK: AFTER 'NO-HO-HO,' CHIMNEY'S A GO
The stainless steel chimney installed at 46-48 Washington Street will be replaced with one the owner says won't be visible from the street. (Photo by John T. Ward. Click to enlarge.)
It won't be ready in time for Santa and his reindeer. But an "eyesore" metal pipe chimney on a home in Red Bank's historic district is slated for replacement following review by the Historic Preservation Commission Tuesday night.
The case illustrated frustrations common among homeowners who live in the district about their absentee counterparts, the HPC's chairwoman said.
December 24, 2020 - 12:00 pm | Comments ()
RED BANK: PLAN TO GET HISTORIC REVIEW
Volunteer firefighters battling the blaze at 87 Washington Street in May, 2018. (Photo by John T. Ward. Click to enlarge.)
Plans to remodel a fire-damaged home in Red Bank's historic district are slated for review by the Historic Preservation Commission Wednesday night.
November 18, 2020 - 7:45 am | Comments ()
RED BANK: SPRUCING UP A VICTORIAN
In progress in Red Bank's historic district: a stately Victorian structure is getting a complete overhaul by a reconstructive plastic surgeon, Dr. Negin Griffith, under a plan approved by the borough planning board in March, 2015.
December 22, 2016 - 8:00 am | Comments ()
RED BANK: DRIVEWAY PLAN IRKS NEIGHBORS
Changes to the structure include the addition of an ADA-accessible wraparound porch along the east side, shown in the bottom illustration. The vacant lot next door is shown below. (Click to enlarge)
The planned restoration of a stately Victorian home in Red Bank for use by a plastic surgeon mostly won praise at a meeting of the borough planning board Monday night.
Neighbors and other residents expressed thanks to Dr. Negin Griffith for proposing to renovate rather than raze the building, at 76 East Front Street. But several claimed that moving the access driveway off East Front and onto an adjoining empty lot at the corner of Washington Street would increase car traffic through the historic district neighborhood.
March 17, 2015 - 12:00 pm | Comments ()
MENNA GASSED UP OVER REGULATOR PLAN
Imagine 80 more of these downtown. (Photo by Dustin Racioppi; click to enlarge)
By DUSTIN RACIOPPI
Mayor Pasquale Menna can't say enough how much he objects to a plan by New Jersey Natural Gas to replace aging equipment in town, although he's trying his best.
"New Jersey Natural Gas decided they wanted to be modern day Vandals of Red Bank," he said of the company's proposed "gas pressure regulator relocation project," which "sounds very fancy but it's very ugly."
The plan, to open up downtown sidewalks and remove old gas regulators, then install new ones above ground, has sent Menna into a whirling tirade against the company, saying it's acting out of corporate greed and counteracting years of work to preserve the historic downtown.
April 1, 2011 - 9:33 am | Comments ()
PRESERVATION GROUP GETS SPOTLIGHT
Historic Preservation Commission members Ed Zipprich, Michaela Ferrigine and George Bowden outside a old house on Washington Street. (Click to enlarge)
It took a couple of years of legwork and hustle, but the efforts of the Red Bank Historic Preservation Commission paid off in June when the Borough Council passed an ordinance designating the Washington Street District as the borough's first residential historic zone.
What they'll receive on behalf of the borough tonight is like, well, the slate roof on a gingerbread Victorian.
Commission chairman George Bowden, Councilman Ed Zipprich and others are scheduled to appear at the Monmouth County Planning Board's annual awards ceremony at PNC Bank Arts Center in Holmdel tonight.
They'll be there to collect a Planning Merit Award, an honor given to towns that the board feels have made significant and positive impacts to their respective communities, said Laura Kirby, assistant planner for the county.
September 16, 2009 - 1:21 pm | Comments ()


A few pictures posted of the iceberg we found in Harbour Grace. Dan posted two photos of this berg already, so it is interesting to see how our photography styles and editing styles overlap/differ.
Loves a bitta iceberg hunting!


lean six sigma yellow belt Download lean six sigma yellow belt or read online here in PDF or EPUB. Please click button to get lean six sigma yellow belt book now.... lean six sigma yellow belt Download lean six sigma yellow belt or read online here in PDF or EPUB. Please click button to get lean six sigma yellow belt book now.
Your Online Six Sigma Training Materials are accessible under Your Free Six Sigma Book and Your Free Premium Six Sigma Training items from the top menu. Although this Online Six Sigma Training Program is the copyrighted intellectual property of International Six Sigma Institute�, we wanted to make these materials freely accessible for everybody.... Six Sigma uses martial arts terms to describe the two main levels of certification: the Six Sigma Green Belt (CSSGB) and Six Sigma Black Belt (CSSBB). There are dozens of books that can help you understand Six Sigma, learn the techniques in-depth and prepare you for the certification exam.
Certified Lean Six Sigma Yellow Belt E-book $ 49.95 Lean Six Sigma is to concentrate effort on removing waste, improving process flow to achieve speed and agility at lower cost... ISBN 10 : 9780873899345 ISBN 13 : 0873899342. This reference manual is designed to help both those interested in passing the exam for ASQ�s Certified Six Sigma Yellow Belt (CSSYB) and those who want a handy reference to the ..
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Six Sigma uses martial arts terms to describe the two main levels of certification: the Six Sigma Green Belt (CSSGB) and Six Sigma Black Belt (CSSBB). There are dozens of books that can help you understand Six Sigma, learn the techniques in-depth and prepare you for the certification exam.
ISBN 10 : 9780873899345 ISBN 13 : 0873899342. This reference manual is designed to help both those interested in passing the exam for ASQ�s Certified Six Sigma Yellow Belt (CSSYB) and those who want a handy reference to the ..


When MSHA notifies a mine it has a potential pattern of violations, the operator has a chance to reduce health and safety violations. If that doesn't happen, MSHA can place the mine on pattern of violation status.
The agency placed two mines on that status in April for the first time in the history of the 1977 federal mine-safety law.
Those mines were the Bledsoe Coal Corp.'s Abner Branch Rider Mine in Leslie County and the New West Virginia Mining Co.'s Apache Mine in McDowell County, W.Va., according to MSHA.


At JMMS, we survey yachts, powerboats and small commercial vessels. Based on Sydney's North Shore between Sydney Harbour and Pittwater, we regularly travel the length of the East Coast and survey Australia-wide. Marine surveyor Jamie Morrison also commutes to South East Asia, where he inspects boats in Singapore, Malaysia and Thailand. Jamie has 28 years' experience in the marine industry. In addition to marine surveying, his background features offshore racing and worldwide boat deliveries.


Jennifer's twelve years of varied mortgage lending experience provides her with the wealth of knowledge that her clients need to tailor the appropriate mortgage for their specific situation. Jennifer specializes in purchase transactions including foreclosure properties and FHA loans. Her tenure has been with Stonegate Mortgage in various locations in the Midwest and currently she is the Manager of the new Tampa branch helping to develop her colleagues and managing day to day operations. When not working, Jennifer enjoys spending time with her three children and volunteers, travels, and loves to swim and run. She has been a top producer with the company and is dedicated to growing the business in Florida and helping her clients by meeting their lending expectations and experiences.


text:
Homepage » TECHNOLOGY » Ghana Accepts Verve Payment
Ghana Accepts Verve Payment
The Ghana Interbank Payment and Settlement Systems (GhIPSS) has partnered Verve International, a Nigerian-based subsidiary of Interswitch Group, to allow Verve card holders to transact business in the country.
Ghana is the latest to join 22 other African countries that have accepted the payment technology which is originally issued in 12 countries on the continent.
The agreement, which was finalised last Friday in Accra, was witnessed by representatives from the central banks of Ghana and Nigeria.
The Director and Head of Payment Systems at Bank of Ghana, Dr. Amediku Settor, who launched the partnership, said such agreements were apt in creating enabling business environment especially at a time when the continent sought to implement the Africa Continental Free Trade Area (AfCFTA).
"Regional card acceptance will foster effective and efficient mobilisation of resources. Despite the remarkable improvement in domestic payment infrastructure on the continent, the continent lacked efficient cross-border payment systems to support intra trade," he said.
The integration of payment platforms on the continent, he said, would remedy the situation where digital payment transactions had to go through security routes outside Africa which in effect increased the cost of fund transfers and made it appealing for informal funds transfer.
Dr. Settor, however, appealed to Verve International to consider introducing competitive transactional charges that would scale up adoption and usage while initiating a charge back policy that did not hold customers funds for longer periods.
The Chief Executive Officer (CEO) of GhIPSS, Archie Hessie, disclosed that the partnership was as a result of a piloting that sought to link switches of domestic payment schemes in West African countries, hence allowing for the sharing of payment infrastructure across the region.
"As we speak now, the switches are linked together but they are not live because we hit a brick wall as to how to handle the settlement between local currencies as well as settlements between countries," he said.
He was, however, hopeful that further engagements would allow Ghana's payment technology, GHlink card, to be accepted in Nigeria.
The CEO of Verve, Mike Ogbalu III, also said that the vision of such partnerships should be to collaborate rather than compete for the establishment of strong payment institutions which would lead the charge in promoting economic growth of the African continent.
Ghana Payment Technology Verve
Ghana slips in Consumer Electronic Risk/Reward Index webmanager January 21, 2020
WAPCo shuts down offshore pipeline today webmanager January 21, 2020
Here are the 27 commercial deals at the UK-Africa Investment Summit webmanager January 21, 2020
Bayport Savings and Loans appoints new board chairman webmanager January 21, 2020

redpajama_set_name: RedPajamaCommonCrawl


text:
Posted in PC Reviews, PlayStation 3 Reviews, Very British Gamer, Xbox 360 Reviews
The Amazing Spider-Man Game – Spidey Fans Will Enjoy It
Dayvid 07/17/2012
If like me you're a big Spider-Man fan, then you would have been straining at the leash awaiting the arrival of THE AMAZING SPIDER-MAN™ video game, developed and published by BEENOX and ACTIVISIION. To be honest, it wasn't an anti-climax as such. OK, maybe it's a bit repetitive, and some elements look like they have been lifted from ARKHAM CITY, but for me as a spidey fan, it has everything you would want from a Spider-Man game.
The game takes place after the latest Spider-Man movie, where plans to create more cross breed species goes a bit PETE TONG, and we have MANHATTAN over run with these mad looking critters,. So to combat the problem ALISTAIR SMYTHE, a nano technology expert, decides to build some hunter/killer robots to sort the problem. Which doesn't work out too well and makes the situation worse. So enter Spider-Man to save the day and kick some robot/lizard bottom's!
THE AMAZING SPIDER-MAN™ is a third person, open world type of game with plenty of web slinging to be had. Especially in MANHATTAN where you can travel freely, sorting out many side missions, which to be honest can get a touch repetitive after a while. Let's face it, when you've saved one infected victim or caught an escaped criminal, you've saved them all. These missions are more or less all the same, right down to the dialogue.
The campaign in THE AMAZING SPIDER-MAN™ is fun with plenty to do. It's not particularly hard either. With the choice of three difficulty settings, there is plenty of variety from crawling around in air ducts, to swinging through town taking down bad guys and robots.
A big feature of this game is the "Web rush" element which involves a touch of the right trigger and time slows down, giving you options as to where you would like to send spidey next. This is great for getting around quickly. Along with the"web retreat "option , it's easy enough to get in and out of trouble at the touch of a button. Which is all well and good, but can be a bit dull as the challenge is removed.
I like being able to target a dumpster or gas bottle, and sling into a group of bad guys. The fight moves aren't too bad and you can upgrade with some nice combo's available. The graphics aren't too bad either. OK, so they're not the greatest, and there are a few glitches, but the character movement and game mechanics are pretty fluid. Not up to BATMAN: ARKHAM CITY's graphics or game mechanics, but good enough not to be distracting.
There are over twenty missions available, most of which are fairly short. The whole game can be completed in around 8 hours, so don't expect any mammoth gaming sessions. Many of Spider-Man's enemies are here, except of course THE GREEN GOBLIN and my favourite THE VULTURE. Mind you, the LIZARD does make an appearance eventually, THE RHINO being the most well-known of all of them, and the introduction of a new piranha type villain called NATTIE (bit of a lame name for a bad guy), With the addition of IGUANA, FELICIA HARDY, VERMIN and SCORPION, Spider-Man has plenty on his hands what with the boss battles being a reasonable challenge, but nothing spectacular
The stealth takedown was one of my favourite moves, very similar to the BATMAN version. The only fault being it wasn't as smooth as ARKHAM CITY, and the camera starts to get a bit disorientating when you are up on the ceiling.
There's some great action sequence/ cut scenes and plenty of upgrades to be had, especially in the open world sections of the game. One of my favourites was collecting comic pages, which open up as real comic strips in the EXTRAS section of the game.
As a Spider-Man fan from way back, I was pleasantly surprised by this game. OK it's not "Game of the Year" but it sure is fun to play and shouldn't disappoint spidey fans! There is a certain expectation with SPIDER-MAN™ games… you know they are not going to be over exciting like the comics and films, it's just that uniqueness and humour that Spider-Man brings to the superhero table that sets him apart from all the others
I give THE AMAZING SPIDER-MAN™ 8.5 out of 10 because it does have its moments, but it still feels like BATMAN: ARKHAM CITY's poorer cousin.
THE AMAZING SPIDER-MAN™
Developers: Beenox
Publishers: Activision
Genre: Open world, action-adventure
Tagged 2012, Activision, ALISTAIR SMYTHE, Arkham City, beenox, FELICIA HARDY, Peter Parker, Spider-Man, Spiderman, spidey, The Amazing Spider-man
Author: Dayvid
3D modeller freelance writer and artist based in the UK ,gaming enthusiast
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A fire caused damage at Buckeye Linen in Newark Thursday night.
NEWARK - A fire that started earlier in the day caused thousands of dollars in damage and temporarily closed Buckeye Linen Services.
The fire was reported around 11:10 p.m. Thursday. Crews remained on scene until about 1:45 a.m. Friday.
Newark Fire Chief Pat Connor said the fire started in a dryer duct, spread to the attic and ultimately to the roof of the building on Jefferson Street.
The building had a sprinkler system that activated and helped to extinguish much of the blaze.
Connor said there appears to have been a fire earlier in the day at the facility that crews at the building believed they had put out with fire extinguishers. However, that fire was not extinguished fully and likely caused the fire in the evening, he said.
There was significant damage to a portion of the building to the point where a structural engineer was called in to make sure the building was safe to occupy.
Buckeye Linen was not fully operational Friday as the engineer has made sure the building is safe for workers to be inside. Connor said he believed the business would be up and running, at least in part, soon.
In a company statement, Regional Vice President Kevin Clem said, "Our building and equipment are sound. Most importantly, our valued employees are safe and are eager to get back to normal."
The company said it is able to handle customer questions via phone and all deliveries will continue on their regular schedule.
The blaze is considered to be accidental.
Mutual aid was provided by Heath, Granville Township and Newton Township.


This study will take place over the next 3 years.
Professor Dhoot explains what the study will involve: "The heart circulates blood and thus oxygen and nutrients to all tissues but also requires good blood supply itself for its pumping action. The blockage of its blood supply severely reduces its pumping function. One of the major challenges is thus to find a way to enhance recovery by re-stablishing the blood flow to the injured heart.
A number of growth factors are known to promote blood vessel formation but their application to the injured heart does not work due to the increased influx of some unknown inhibitors. Our recent study identified a family of enzymes called Sulf1 and Sulf2 that control the potency of growth factors that promote blood vessel formation. Our unpublished studies show the involvement of Sulf1/Sulf2 enzymes in generating new blood vessels to re-vascularise the injured heart and we aim to determine their role as mediators of blood vessel growth. Understanding the mechanism of their action could provide therapeutic targets for cardiovascular disease.
The aim of this study is to understand the mechanism by which re-vascularisation of the injured heart is controlled by regulating the balance of angiogenic enhancers and their inhibitors. Understanding such control and its application to injured heart could help restore cardiac function.
It is critical to understand what controls the activities of inhibitory and enhancing molecules to facilitate efficient re-vascularisation of the injured heart following myocardial infarction. This would enable the use of such factors to enhance myocardial recovery following ischaemic injury."


text:
package com.yunos.alicontacts.preference;

import android.content.ActivityNotFoundException;
import android.content.Context;
import android.content.SharedPreferences;
import android.content.SharedPreferences.Editor;
import android.content.res.Resources;
import android.os.AsyncTask;
import android.os.Bundle;
import android.provider.Settings;
import android.text.TextUtils;
import android.util.Log;
import android.util.SparseArray;
import android.view.LayoutInflater;
import android.view.View;
import android.view.ViewGroup;
import android.widget.ArrayAdapter;
import android.widget.ListAdapter;
import android.widget.Switch;
import android.widget.TextView;

import com.yunos.alicontacts.R;
import com.yunos.alicontacts.activities.BasePreferenceActivity;
import com.yunos.alicontacts.sim.SimStateReceiver;
import com.yunos.alicontacts.sim.SimUtil;
import com.yunos.alicontacts.util.FeatureOptionAssistant;
import com.yunos.common.UsageReporter;

import java.util.List;

public class DialerSettingActivity extends BasePreferenceActivity {
    private static final String TAG = "DialerSettingActivity";

    public static final String PREFS_KEY_AUTO_MARK = "prefs_key_auto_mark";
    public static final String DIALER_SETTINGS = "dialer_settings";

    private static final SparseArray<String> sReportList;
    static {
        sReportList = new SparseArray<String>();
        sReportList.put(R.id.dualcard_settings, UsageReporter.DialpadPage.DUAL_CARD_SETTING);
        sReportList.put(R.id.tag_auto_mark_settings,
                UsageReporter.DialpadPage.TURN_ON_AUTO_MARK_TAG);
        sReportList.put(R.id.quick_dial,
                UsageReporter.ContactsSettingsPage.QUICK_CALL_SETTING);
    }

    public static final boolean DEFAULT_AUTO_MARK_TAG = true;
    private boolean mAutoMarkTag = DEFAULT_AUTO_MARK_TAG;
    private SharedPreferences mPrefs;
    private SimStateReceiver.SimStateListener mSimStateReceiver = new SimStateReceiver.SimStateListener() {
        @Override
        public void onSimStateChanged(int slot, String state) {
            checkAirplaneModeAsync();
        }
    };

    private HeaderAdapter mHeaderAdapter;
    private boolean mIsAirplaneMode = true;

    @Override
    protected void onCreate(Bundle savedInstanceState) {
        super.onCreate(savedInstanceState);
        initActionBar();
        setTitle2(getString(R.string.general_settings_label));
        showBackKey(true);

        mPrefs = getSharedPreferences(DIALER_SETTINGS, Context.MODE_PRIVATE);
        mAutoMarkTag = isAutoMarkTag();
        SimStateReceiver.registSimStateListener(mSimStateReceiver);
        checkAirplaneModeAsync();
    }

    @Override
    public void onBuildHeaders(List<Header> target) {
        loadHeadersFromResource(R.xml.dialer_settings, target);
        updateHeaders(target);
    }

    @Override
    protected void onResume() {
        super.onResume();
        UsageReporter.onResume(this, null);
    }

    @Override
    protected void onPause() {
        super.onPause();
        UsageReporter.onPause(this, null);
    }

    @Override
    protected void onDestroy() {
        super.onDestroy();
        SimStateReceiver.unregistSimStateListener(mSimStateReceiver);
    }

    private void checkAirplaneModeAsync() {
        AsyncTask<Void, Void, Void> checkTask = new AsyncTask<Void, Void, Void>(){
            @Override
            protected Void doInBackground(Void... params) {
                Log.i(TAG, "checkAirplaneModeAsync.doInBackground: before read airplane mode.");
                int airplaneMode = Settings.System.getInt(getContentResolver(), Settings.Global.AIRPLANE_MODE_ON, 0);
                Log.i(TAG, "checkAirplaneModeAsync.doInBackground: after read airplane mode. airplaneMode="+airplaneMode);
                boolean isAipplaneMode = airplaneMode == 1;
                if (isAipplaneMode != mIsAirplaneMode) {
                    mIsAirplaneMode = isAipplaneMode;
                    postNotifyDataSetChanged();
                }
                return null;
            }
        };
        checkTask.executeOnExecutor(AsyncTask.THREAD_POOL_EXECUTOR);
    }

    private void postNotifyDataSetChanged() {
        if (isFinishing() || isDestroyed()) {
            return;
        }
        runOnUiThread(new Runnable() {
            @Override
            public void run() {
                if (mHeaderAdapter != null) {
                    mHeaderAdapter.notifyDataSetChanged();
                }
            }
        });
    }

    private void updateHeaders(List<Header> target) {
        int i = 0;
        while (i < target.size()) {
            Header header = target.get(i);
            long id = header.id;
            if (id == R.id.dualcard_settings && !SimUtil.MULTISIM_ENABLE) {
                // NOTE: if anyone wants to display sim management (dualcard_settings) in single card phone,
                // then noCardInserted() need to handle SimUtil.MULTISIM_ENABLE.
                target.remove(i);
                continue;
            } else if (FeatureOptionAssistant.isInternationalSupportted()
                    && id == R.id.tag_auto_mark_settings) {
                target.remove(i);
                continue;
            }

            i++;
        }
    }

    @Override
    public void setListAdapter(ListAdapter adapter) {
        if (adapter != null) {
            mHeaderAdapter = new HeaderAdapter(this, getHeaders());
            super.setListAdapter(mHeaderAdapter);
            return;
        }
        super.setListAdapter(null);
    }

    @Override
    public void onHeaderClick(Header header, int position) {
        try {
            super.onHeaderClick(header, position);
            if (header.id == R.id.tag_auto_mark_settings) {
                mAutoMarkTag = !mAutoMarkTag;
                setAutoMarkTag();
                invalidateHeaders();
            }
        } catch (ActivityNotFoundException aEx) {
            Log.e(TAG, "onHeaderClick :", aEx);
        }
        sendUsageReport(header.id);
    }

    private void sendUsageReport(long headerId) {
        String report = sReportList.get((int) headerId);

        if (headerId == R.id.tag_auto_mark_settings && !mAutoMarkTag) {
            report = UsageReporter.DialpadPage.TURN_OFF_AUTO_MARK_TAG;
        }

        UsageReporter.onClick(null, TAG, report);
    }

    private boolean isAutoMarkTag() {
        return mPrefs.getBoolean(PREFS_KEY_AUTO_MARK, mAutoMarkTag);
    }

    private void setAutoMarkTag() {
        Editor editor = mPrefs.edit();
        editor.putBoolean(PREFS_KEY_AUTO_MARK, mAutoMarkTag);
        editor.apply();
    }

    private class HeaderAdapter extends ArrayAdapter<Header> {
        public static final int HEADER_TYPE_NORMAL = 1;
        public static final int HEADER_TYPE_SWITCH = 2;

        private final LayoutInflater mInflater;
        private final Resources mResources;

        private class HeaderViewHolder {
            TextView mTitle;
            TextView mSummary;
            Switch mSwitch;
        }

        public HeaderAdapter(Context context, List<Header> objects) {
            super(context, 0, objects);
            mInflater = (LayoutInflater) context.getSystemService(Context.LAYOUT_INFLATER_SERVICE);
            mResources = context.getResources();
        }

        @Override
        public View getView(int position, View convertView, ViewGroup parent) {
            HeaderViewHolder holder;
            Header header = getItem(position);
            int headerType = getHeaderType(header);
            View view = null;

            if (convertView == null) {
                holder = new HeaderViewHolder();

                view = mInflater.inflate(R.xml.settings_item, parent, false);
                holder.mTitle = (TextView)
                        view.findViewById(R.id.title);
                holder.mSummary = (TextView)
                        view.findViewById(R.id.summary);
                holder.mSwitch = (Switch) view.findViewById(R.id.switchWidget);

                view.setTag(holder);
            } else {
                view = convertView;
                holder = (HeaderViewHolder) view.getTag();
            }

            holder.mTitle.setEnabled(isEnabled(position));
            holder.mTitle.setText(header.getTitle(mResources));
            CharSequence summary = header.getSummary(mResources);
            int viewHeight;
            if (!TextUtils.isEmpty(summary) || !TextUtils.isEmpty(header.summary)) {
                holder.mSummary.setVisibility(View.VISIBLE);
                if (!TextUtils.isEmpty(header.summary)) {
                    holder.mSummary.setText(header.summary);
                } else {
                    holder.mSummary.setText(summary);
                }
                viewHeight = mResources.getDimensionPixelSize(R.dimen.listview_item_height_dual_line);
            } else {
                holder.mSummary.setVisibility(View.GONE);
                viewHeight = mResources.getDimensionPixelSize(R.dimen.listview_item_height);
            }
            view.getLayoutParams().height = viewHeight;

            if (headerType == HEADER_TYPE_SWITCH) {
                holder.mSwitch.setVisibility(View.VISIBLE);
                if (header.id == R.id.tag_auto_mark_settings) {
                    holder.mSwitch.setChecked(mAutoMarkTag);
                }
            } else {
                holder.mSwitch.setVisibility(View.GONE);
            }

            return view;
        }

        @Override
        public int getItemViewType(int position) {
            Header header = getItem(position);
            return getHeaderType(header);
        }

        public int getHeaderType(Header header) {

            if (header.id == R.id.tag_auto_mark_settings) {
                return HEADER_TYPE_SWITCH;
            } else {
                return HEADER_TYPE_NORMAL;
            }
        }

        @Override
        public boolean isEnabled(int position) {
            Header header = getItem(position);
            if (header.id == R.id.dualcard_settings
                    && (mIsAirplaneMode || noCardInserted())) {
                return false;
            }
            return true;
        }

        private boolean noCardInserted() {
            // For single card phone, the sim management item is removed,
            // so don't need to check SimUtil.MULTISIM_ENABLE here.
            Log.i(TAG, "noCardInserted: before check card status.");
            boolean cardStatus = (!SimUtil.hasIccCard(SimUtil.SLOT_ID_1))
                    && (!SimUtil.hasIccCard(SimUtil.SLOT_ID_2));
            Log.i(TAG, "noCardInserted: after check card status. result="+cardStatus);
            return cardStatus;
        }

    }

}

redpajama_set_name: RedPajamaGithub


text:
Q: extjs : How to access a variable in ajax request success, outside the ajax request I want to use the value of var ajaxRe which is in the ajax request success,
outside the ajax request, but the value is undefined. I want to use the response to load data in a grid,
Ext.Ajax.request({
        url : myUrl,
        params : {
            myParamList
        },
        success : function(re,action) {
            var ajaxRe = re.responseText;
            ...
            var respArr = ..;
        },
        failure : function(form,action) {
            console.log("fail");
        }
});

when I print grid.getStore() within success, the grid contains the data I need, but it is not being displayed,
I am setting data in the grid's store within success, and accessing the grid outside.
success : function(re,action) {
    that.editorGrid.getStore().data = respArr;
}

How can I solve this?
Thanks

A: If data is in correct format  try below
that.editorGrid.getStore().loadData(respArr);

If you want apply proxy reader to load data use
that.editorGrid.getStore().loadRawData(respArr);

One other way is to reconfigure store and bind that store to grid
    var store = Ext.create('Model', {
            autoLoad: true,
            data: responseJson,
            proxy: {
                type: 'memory',
                reader: {
                    type: 'json'
                }
            }
        });
 that.editorGrid.bindStore(store);

A: I agree with Saki that you should use a store to fill the grid, so if it doesn't reload, there is probably another problem.
Anyway, to answer your question : just define ajaxRe outside of the ajax request :
var ajaxRe = '';
Ext.Ajax.request({
   ...
   ajaxRe = re.responseText;
   ...
});

But be careful that you may try to access the variable before the value is actually set.

A: You do not need a separate request to populate a (grid) store. Define a proxy on the store and Ext takes care of the rest. You can also take a look at this example, see the code and analyze what data travels to the server and back.

redpajama_set_name: RedPajamaStackExchange


text:
Caloptilia aeolastis är en fjärilsart som först beskrevs av Edward Meyrick 1920.  Caloptilia aeolastis ingår i släktet Caloptilia och familjen styltmalar. Inga underarter finns listade i Catalogue of Life.

Källor

Styltmalar
aeolastis

redpajama_set_name: RedPajamaWikipedia


Chiriuchu, Cuzco's festive dish, is like a world on a plate. It works for festivities because it brings everything together, in the small portions of different ingredients of different types and from different regions.
It has corn as its base, with guinea pig, chicken, a kind of jerky (chalona), and sausage on top of the kernels of gold. Then comes a slice of cheese from the neighboring highland region of Puno, a torreja (a Spanish omelette with corn flour, compis potatoes, yellow squash, onion greens, and spices), and then sea weed and fish eggs from the Pacific coast. A slice of colorful rocoto pepper occupies the top.
The dishes name, chiriuchu, means cold dish, since uchu which means hot pepper also is a general word for food. The dish is served cold and is eaten with the hands.
Yesterday and today, crowds of people will gather at the stands by San Francisco to sit and eat chiriuchu while musicians stroll through to serenade with their art. The dish can also be found in many restaurants with varying degrees of authenticity.
Chua Restaurant on San Juan de Dios in the Casa Qente is providing a special offering of their version of chiriuchu.


text:
Blade Runner è un album di Vangelis, colonna sonora dell'omonimo film del regista Ridley Scott e pubblicato da Warner Music e Atlantic Records nel 1994, dodici anni più tardi rispetto alla sua composizione e all'uscita del film. Si tratta della ventinovesima uscita discografica del musicista greco tra album, colonne sonore e compilation.

Il disco

La colonna sonora
La colonna sonora di Vangelis è una combinazione oscuro-melodica di composizioni classiche eseguite con sintetizzatori, a rispecchiare lo sfondo ambientale retro-futuristico del film di Ridley Scott. Vangelis, fresco della vittoria dell'Oscar alla migliore colonna sonora per Chariots of Fire, compone così la prima colonna sonora per Ridley Scott (in futuro sarà autore anche di quella per 1492 - La conquista del paradiso). Nell'album sono presenti un gran numero di collaboratori, tra cui il cantante Demis Roussos (precedentemente con lui negli Aphrodite's Child) e il sassofonista Dick Morrissey (protagonista di un assolo in Love Theme). Ridley Scott incluse nella colonna sonora anche una versione orchestrale di Memories of Green, brano proveniente dall'album See You Later, che utilizzò successivamente anche nella colonna sonora di Chi protegge il testimone. Oltre alle composizioni di Vangelis, facevano parte della colonna sonora anche un brano della band giapponese Ensemble Nipponia (Ogi No Mato) e uno dell'arpista Gail Laughton (Pompei '76 A.D.).

Pubblicazione
Benché la colonna sonora fosse stata ben accolta dal pubblico ed acclamata dalla critica (nomination nel 1983 per il Golden Globe e per il British Academy of Film and Television Arts BAFTA Award, in entrambi i casi come miglior colonna sonora) e malgrado la promessa della Polydor di pubblicare un album ufficiale, la pubblicazione fu rinviata per oltre un decennio. Vi sono perciò tre pubblicazioni ufficiali: la prima è un'esecuzione orchestrale eseguita dalla New American Orchestra, pubblicata nel 1982 a causa dell'assenza del materiale ufficiale. Due tracce provenienti dalla colonna sonora furono incluse nella compilation Themes, ma la pubblicazione ufficiale arrivò solo nel 1994, per mano della Warner Music. Successivamente furono pubblicati alcuni bootleg contenenti anche tracce inedite.

Nel 2007 l'album è stato rimasterizzato e ripubblicato con l'aggiunta di due dischi contenenti brani usati nel film e precedentemente non pubblicati assieme a composizioni scartate dal regista. Nonostante questa nuova pubblicazione venga definita completa, alcuni brani usati nel film non sono stati inclusi.

Tracce

Versione orchestrale 1982

Versione ufficiale 1994

Ripubblicazione 2007

Disco 1

Disco 2

Disco 3

Collegamenti esterni

 Vangelis' Blade Runner film score  NemoStudios.co.uk

Colonne sonore di film
Colonne sonore di Vangelis
Blade Runner


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Northampton Presbyterian Church – In Christ's Love–Go, grow, love, live, honor & serve!
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text:
Jules Siegel's "Who Is Thomas Pynchon… And Why Did He Take Off With My Wife?"
Who Is Thomas Pynchon… And Why Did He Take Off With My Wife?
By Jules Siegel
Shedding a little light on the most famous author-recluse since J.D. Salinger
THOMAS RUGGLES PYNCHON, JR., is the most famous invisible writer since J. D. Salinger, the most admired since B. Traven, the most difficult since James Joyce. When his first novel, V., was greeted with thundering critical applause in 1963, Time sent a photographer to find him in Mexico City. Pynchon fled to Guanajuato, then an eight-hour bus ride into the mountains, and has eluded all subsequent attempts to get his picture. In 1974, New York magazine scored a mini-coup by publishing a photo taken of him while he was in college. Pynchon did not show up at the 1974 National Book Awards luncheon to receive his prize for his third novel, Gravity's Rainbow, co-winner in the fiction category with Isaac Bashevis Singer's A Crown of Feathers. His publisher sent, in his stead, double-talking comedian Irwin Corey, who bills himself as "the world's greatest expert on everything" and who accepted the prize with what New York Times reporter Steven R. Weisman described as "a series of bad jokes and mangled syntax that left some people roaring with laughter and others perplexed."
Weisman speculated that this was "evidently intended to make fun of the fact that the Pynchon novel, while hailed as a work of genius, also left many of its readers confused and baffled by its encyclopedic references and intricate, fantastic style." Confused though the literary world may be by the mysterious Pynchon and his labyrinthine allegories, he has received unprecedented acclaim. V. won the William Faulkner Prize. His second novel, The Crying of Lot 49, took the Rosenthal Award in 1967. Gravity's Rainbow was the unanimous nomination of the Pulitzer fiction jury in 1974, but the advisory board of eminent journalists disagreed, calling the book "obscene," "unreadable" and "overwritten." The trustees skipped the prize entirely that year.
In 1975, Pynchon declined the William Dean Howells Medal of the American Academy of Arts and Letters, given every five years for a distinguished work of fiction, breaking silence with a brief note saying he know he ought to accept the gold medal as a hedge against inflation, but no, thanks, anyway. The academy said it would hold it for him in case he changed his mind. Although he has never had a best seller, Pynchon's books have been commercially successful. there are more than half a million copies of V. in print. Somewhere back of that pile of paper and ink there is a question mark named Thomas Pynchon, location unknown, of no fixed address, his biography a mere few sentences, physical description unavailable. Who is Thomas Pynchon, really? Why is he hiding? Does he exist at all, or is he no more than an elaborate hoax of the Age of Paranoia, like the hallucinatory inventions of Argentina's blind fabulist, Jorge Luis Borges? Who is Thomas Pynchon and what does he mean?
Everyone has his own fantasy of success. I once had no greater hope than to publish a learned paper on 17th Century English songs in The Proceedings of the Modern Language Association. Somewhere in the blank fog of time there is a scholar writing a learned paper on Thomas Pynchon. To him I offer this footnote: In Mortality and Mercy in Vienna, Pynchon's first published short story, the protagonist is one Cleanth Siegel. My second wife, the former Virginia Christine Jolly of San Marino, California, tells me that the character represents me. I have noticed the coincidence of name but do not recognize myself. Possibly it is a me I have never been able to examine very well, the back of my neck, or the dream of Gabriel García Márquez, whose essential quality is that it cannot be remembered.
Be that as it may, I did attend Cornell in 1954. The boy in the next room was Thomas Ruggles Pynchon, Jr. If there are any correspondences to be found in that or anything else that follows, I leave them to Chrissie and the scholars.
Tom Pynchon was quiet and neat and did his homework faithfully. He went to Mass and confessed, though to what would be a mystery. He got $25 a weeks pending money and managed it perfectly, did not cut class and always got grades in the high 90's. He was disappointed not to have been pledged to a fraternity, but he lacked the crude sociability required for that. Besides, he had his own room at Cascadilla, one of the more pleasant dormitories, not tight College Tudor tile but pre-Civil War Victorian, high-ceilinged and muted. Fraternity houses offered neither the charm nor the privacy, and he was, if anything, a very private person.
Pynchon was then already writing short stories and poems, but he did not hand them about very much. I remember one story that had something to do with a broken pitcher of beer. I once saw some French quatrains in what looked like his hand—small, regular, precise engineer's manuscript. He later denied ever having done anything like that. Maybe they were a girl's, but I never met her, as far as I know.
I have seen photographs of William Faulkner that made me think of Tom. He was very tall—at least 6'2"— and thin but not skinny, with a pale face, fair eyes and a long, chiseled Anglo nose. He was ashamed of his teeth and did not smile much. Many years later, writing to me from Mexico City, where he was having extensive and painful dental restoration done, he described them as "misshapen choppers" and said they had determined his life in some unspecified way that seemed very important to him.
His wit was terrifically bold for such an otherwise cautious personality. He could carry a tune well and made up ribald parodies of popular songs, which I seem to remember—surely I am imagining this—were accompanied on a ukulele. From the musical notations in the back of T.S. Eliot's The Cocktail Party, he puzzled out for me the tune of One-Eyed Reilly, which we sang together one beer-soaked night in joyous disharmony and stole an old wooden rocking chair off someone's porch and tossed it into the interior court of Cascadilla Hall. It landed upright on the roof of a covered crosswalk and rocked itself quiet. Possibly it is still there.
When his parents came to visit, he introduced his mother this way: "Jules, this is my mother. She's an anti-Semite. I just didn't want my children to surround themselves with Jews." I remember her as an exceptionally beautiful woman, all cut glass, ivory and sable. I believe she had been a nurse, had a lot of Irish in her and was a Catholic. Though Mr. Pynchon was a Protestant, she raised their children in her own faith. Tom was the oldest. Then came Judith, about five years younger. The youngest was John.
I had more contact over the years with Mr. Pynchon than with Tom's mother, but he is less clear: curly, lightish hair, red nose, very friendly and tolerant. He was commissioner of roads for the town of Oyster Bay, Long Island, and Tom worked with the road crews in the summer. Mr. Pynchon later became supervisor of the town of Oyster Bay and is now an industrial surveyor. The Pynchons lived in a very plain New England frame house on Walnut in East Norwich, its most notable furnishings some excellent Colonial portraits of ancient Pynchons.
It is an old American family, dating back to William Pynchon, one of the founders and principal citizens of Springfield, Massachusetts, who left England March 29, 1630, with John Winthrop's fleet, accompanied by his wife and three daughters. His son, John, seems to have come over later on a different ship. The Pynchons are prominent in New England historical literature. William and John were magistrates and military officers. Their court record has survived and has been published in a carefully annotated edition by Harvard University Press, with a frontispiece portrait of William Pynchon. There are Tom's eyes and a lot of his nose and shape of face.
William Pynchon is remembered for his role in the witch trials, in which he appears to have been a relatively moderate force, and for his highly controversial book The Meritorious Price of Our Redemption, a protest against the rigid Calvinistic theology of his time, evidently the first by an American author. It was officially censured by the General Court, which ordered a rebuttal written, summoned Pynchon to explain himself and directed the book burned by the executioner in the Boston market place. Soon afterward, William Pynchon returned to England, leaving John to supervise the family's substantial holdings in the New World. He died October 29, 1662, and was buried in the churchyard at Wraysbury.
Although John Pynchon was an important man in his own time, an increasing obscurity gathered about the name. The Pynchons were Tories during the Revolution but loyal citizens of the republic afterward. By the time Nathaniel Hawthorne wrote The House of Seven Gables, in which a Pynchon appears in a not very attractive characterization, it seems that the family was virtually unknown. To Hawthorne's surprise, however, surviving Pynchons vigorously protested. In a letter dated May 3, 1851, Hawthorne apologized and wrote that he thought no great damage had been done, "but since it appears otherwise to you, no better course occurs to me than to put this letter at your disposal, to be used in such manner as a proper regard your family honor may be thought to demand."
Of the fate of the Pynchon family fortune, not much is to be found. They were gentry in England and gentry here. In the first half of the present century, the Wall Street Firm of Pynchon & Co. went under with scant attention, except for the comment of a Morgan partner that "these ripe apples must fall." When I knew them, the Pynchons appeared to be in relatively modest circumstances hardly in want.
Though there are some well-known and evidently quite prosperous Pynchons—notably, the original Thomas Ruggles Pynchon—to be found in the standard biographical dictionaries and encyclopedias, the two most illustrious are separated by more than 300 years, covering the entire history of the nation. Indeed, it is not pure hyperbole to suggest that, in some measure, William Pynchon of Springfield and Thomas Pynchon of modern literary fame define the spectrum of our intellectual history. The records of the Pynchon family are easily accessible to any competent researcher. Curiously enough, no commentator on the younger Pynchon's work seems to have made the connection with his ancestor.
How close were Tom and I at Cornell? It is hard to say, really. We were friends, maybe at some points best friends, very much alike in some important ways. We were both writers, both science students—he in electrical engineering, I in premed—both quite solitary and shy. Like him, I had no luck fraternity row. Unlike him, I was not diligent, was careless with money, attended class rarely, hardly got grades at all, much less high ones. One weekend between sessions, we hitchhiked from Ithaca to Ann Arbor, Michigan, where I wanted to see a girlfriend named Esther Schreier at the University of Michigan. If you think that name is dissonant, try Esther Chachkis, which is what she became when she married. It was blinding cold. We crossed Canada at night. Ann Arbor was sodden with stale snow. Esther had the flu and was not in a very romantic mood, though pleased to see me. Tom refused a date for himself and spent the evening at the observatory. On the way back, we got stranded on the bridge between Detroit and Ontario for about eight hours waiting for a ride, freezing outside between brief shelters in the relative warmth of the men's room until the guards took pity on us and invited us into their hut and got us a ride.
This time, we blasted across the barren winter reaches with a wild pair of couples in a sedan and a pickup truck who played tag with the two vehicles in the darkness before dawn at speed upwards of 80 mph, sometimes turning their headlights off to ensure surprise. One of us—I forget which—left his bag in the car when they let us off in Buffalo. Tom remembered the first name of one of the men and that he worked for cab company. We had to wait a couple of hours or more in a White Tower Hamburger stand until the cab companies' telephones were answered. Then we tracked them down and got the bag back. It took us most of the day to get back to Ithaca. Tom began talking with the Southern Colonel's accent, not only to me but also to everyone we met. Before long, I was pleading with him to stop.
Not long after that, I dropped out of school and went into the Army, winding up in the Military Intelligence service in Korea, where I received a letter from Pynchon informing me that he, too, had left school and now was—I laughed out loud at the piquant turn of speech—"a jolly jack-tar." He returned to Cornell, an English major this time, where Vera Nabokov thinks she remembers grading his papers for her husband's class. Of Vladimir Nabokov, Pynchon told me only that his Russian accent was so thick he could hardly understand what he was saying. I did not return to Cornell but went, instead, to Hunter College.
I saw Pynchon occasionally in New York. Once he took me down to Greenwich Village to the Cafe Bohemia, where Max Roach was playing. It was the only band I ever heard in which the drums carried the melody. The Modern Jazz Quartet and the Kent Micronite Filter commercial were about as much modern music as I could handle. Pynchon, however, was deeply into the mysteries of Thelonious Monk. On religious grounds, I excused myself from attending chapel with him at the Five Spot to hear "God" play. I was an atheist.
Tom came down to the Bronx to my engagement party, helped do the massive load of dishes and stayed overnight with us. In June 1958, Mr. Pynchon arranged for the marriage ceremony to be performed by a Federal district court judge in Massapequa, Long Island, and I went out to East Norwich to take care of the final details. Judith was there, 16 and more than fair. I blushed with lust and wondered why I was getting married. When the appointed day came, we arrived at the judge's mansion to find his worship in a tuxedo. It seemed that a few days earlier, another young couple named Siegel had come to him and asked to be married. Thinking it was us, he had done so and crossed our name off his appointment calendar. Fortunately—is that the right word?—Tom arrived early and intercepted the judge, who was getting ready to go off to a diner. The marriage proceeded as planned. Phyllis DeBus became Mrs. Jules Siegal. Pictures were taken. In one of them, there was Tom, bearded, wearing a charcoal-grey suit. Perhaps Phyllis still has that picture. We were divorced less than four years later, our marriage a victim of deep family tragedies. I think of her occasionally with great affection and a certain longing. She was so wonderful a lover, generous and easily aroused, but I was too callow then to appreciate her.
Tom visited us when we were living in Queens, once helping us move from one apartment to another, playing a wastepaper basket as a conga drum in the back of the rented step van. Another time, he came down from Ithaca with his girlfriend, Ellen Landgraben, a coed at Cornell. It was a forbidden love. She was Jewish and her parents objected to Tom. It was my job to drive her out to Hewlett and pretend that I had brought her from school. At the last minute, I forgot to remove my shiny wedding band. I don't know if they noticed, though.
I remember another visit shortly after I was graduated from Hunter and was working for a public-relations agency. The firm was soliciting an account in the field of atomic research that manufactured plastic mannequins called radiation dummies, made of materials designed to absorb radiation in exactly the same way as the human body. One model had a human skeleton. The other was all plastic. Both had clear skins of something like Lucite and were eerily beautiful. I had the literature at home. Tom took some of it with him when he left. I was not to see him again for more than five years.
There were letters. Eventually, the total was something like 30. They began from Seattle, where he worked on the Boeing company magazine. I remember one from Florida. He was then living with a girl and they had gone to visit her family. A cute preteen attracted Tom's notice enough for him to mention her lasciviously. Soon the letters had a Mexico City postmark. The Mexicans laughed at his mustache and called him Pancho Villa. In the rainy season, he awoke one morning to find a drowned rat on his balcony. Guanajuato was a town of stone corridors twisting back on one another. I had complained about the complexity of V. "Why should things be easy to understand?" he retorted and followed with a brief dissertation on the origins of the simple English movement in the studies of comprehensibility of newspaper copy commissioned by the Associated Press. The death of Marilyn Monroe grieved him heavily. The girl was no longer with him. This letter was written with a brand-new Mexican ribbon. He was gnashing his misshapen choppers in envy of my corrosively elegant first drafts of short stories and letters complaining of my inability to write. The return addresses changed, but the form of the letters was always the same: neatly typed on engineer's quadrillé paper, the signature in faint pencil, "Tom."
By 1965, he was living in Manhattan Beach. California. I had given up the public-relations business and was freelancing for magazines. The Saturday Evening Post sent me to California to do a story on Bob Dylan. I found Tom in a one-room apartment with a view of the sea. There were some shabby furnishings, a large gas heater, a narrow cot, a few books—one, Totempole, by Sanford Friedman—little else; a monk's cell decorated by the Salvation Army. I told him about the Dylan assignment. "You ought to do one on The Beach Boys," he said. I pretended to ignore that. A year or so later, I was in Los Angeles again, doing a story for the Post on The Beach Boys. He bad forgotten his earlier remark and was no longer especially interested in them. I took him to my apartment in Laurel Canyon, got him royally loaded and made him lie down on the floor with a speaker at each ear while I played Pet Sounds, their most interesting and least popular record. It was not then fashionable to take The Beach Boys seriously.
"Ohhhhh," he sighed softly with stunned pleasure after the record was done. "Now I understand why you are writing a story about them."
Another time, Chrissie was there. I had met her at a Beach Boys record session. She was then a few months older than 18, still wearing a thin wire brace on her big white teeth. Of Chrissie, it is necessary to post certain warnings. It is easy to underestimate her intelligence, but it is a mistake. She is obviously too pretty to be serious, conventional wisdom would have you believe. In New York, she was offered a screen test by Carlo Ponti the first week we arrived. She turned him down, likewise a modeling contract with the Ford agency, beginning with a recruiting commercial for the Coast Guard. The lady is full of surprises that do not go with a Pepsodent smile, shy and expert in the arts of invisibility, detesting stereotyped response. Her beauty is a device used to deflect inquiry, like the bullfighter's cape. There is the kiss of the rose on the point of a sword. When Tom left, I took him down to his old green Corsair parked at the bottom of the hillside. "Don't worry about her," he said.
"What is that supposed to mean?" I asked.
"I think you worry about her. Don't. She can take care of herself."
We spent several days together, the three of us. One night we all went up to Brian Wilson's Babylonian house in Bel-Air. Brian then had in his study an Arabian tent made of crimson and purple Persian brocade. It was like being inside the pillow of a shah. There was one light, fashioned from a parking meter. You had to put pennies in it to make it stay on. Brian brought in an oil lamp and tried to light it. The parking meter light kept going out and Brian kept dropping the oil lamp and stumbling over it. Neither he nor Pynchon said anything to each other. Another night, we went to Studio A at Columbia Records, only to find our way barred by one of Brian's assistants, Michael Vosse, who explained that we couldn't come in anymore, because Chrissie was a witch and fucking with Brian's head so heavy by ESP that he couldn't work.
One afternoon, Chrissie and I drove out to Manhattan Beach to see Tom, taking along with us some grass we had scored at a be-in (remember be-ins?) in Griffith Park. Tom was then living in a two-room studio with kitchen that had evidently been converted from a garage. It was on a side street a couple of blocks up from the beach. The decoration was pretty much the same. A built-in bookcase had rows of piggy banks on each shelf and there was a collection of books and magazines about pigs. The kitchen cabinets contained not groceries but many empty Hills Brothers coffee cans in orderly array, as if displayed on supermarket shelves.
His desk sat next to a window in the small living room. It had a clutter of miscellaneous papers, letters from obscure publications pleading for articles, an Olivetti portable typewriter, a thick stack of that graph paper covered with script—the draft of Gravity's Rainbow, which he was in the process of typing and rewriting. He felt that he had rushed through The Crying of Lot 49 in order to get the money. He was taking no such chance with the new book, apparently having begun it soon after the publication of V., interrupting it to write The Crying of Lot 49. Much of the draft was done in Mexico. "I was so fucked up while I was writing it," he said, "that now I go back over some of those sequences and I can't figure out what I could have meant."
On the desk, there was a rudimentary rocket made from one of those pencillike erasers with coiled paper wrappers that you unzip to expose the rubber. It stood on a base twisted out of a paper clip. The wrapper had been pulled up into a cone from which a needle protruded. I touched the needle with the tip of my finger and it fell into the cone. Tom frowned, cursed and spent at least a half hour tickling the needle back out again. As soon as he got it right and leaned back, I pushed it back in again. He put his face in his hands and almost wept. The grass was said to be Acapulco gold. It was strong and beautiful. The day was misty soft—cloudy water-color weather. We drove down the coast past a couple of towns to see an abandoned baroque hotel, something out of Bergman, but with a grand tattered Colonial flavor. As twilight thickened and condensed into liquid darkness, we returned to Manhattan Beach in relentlessly gathering fog. At night, we went down to the beach. The fog was so dense that the streetlights on The Strand disappeared a few yards' walk toward the sea. Enveloped in opal-gray night we floated one another's view, dancing down to the water. Only the foaming edge of the waves was visible, and even that was perceived mostly as a blurred lapping sound. We were alone on the empty margin of existence, walking the scant line between nowhere and nothing.
Too stoned to risk driving back to Laurel Canyon in the grainy fog, Chrissie and I slept the night in Tom's dank bedroom while he made do on his studio couch in the living room. The head of the bed sat in a low notch of damp painted concrete formed by the floor of the room above. The room was a cave.
In the morning, there was sunshine. As we sat in the kitchen, Tom said, "Do you believe in ESP? Strange things keep happening to me. One day I was sitting in here and the side of my head came off, opening into Candida's office, which I have never seen. She was talking on the telephone. Later, I spoke to her about it and told her what her office looked like. I had it all exactly right.
"You know the W.A.S.T.E. horn in The Crying of Lot 49? The symbol of the secret message service? Every weirdo in the world is on my wave length. You cannot understand the kind of letters I get. Someone wrote to tell me that the very same horn was the symbol of a private mail system in medieval times. I checked it out at the library. It's true. But I made it up myself before the book was ever published, before I ever got that letter."
When Chrissie and I got back home, there was a message for me to call a number in New York. It was the publisher of a new magazine for young people. He wanted me to go East and be editor. We left soon afterward without seeing Tom again. Less than a year later, depressed and whipped, I went back again to Los Angeles. We stayed in the Ramada Inn on Sunset Strip. Pynchon came bouncing into our room with a pound of excellent grass, the kind they called ice pack, and a chunk of violent hash. He was wearing a black-velvet cape. There was a mysterious undertone to his enthusiasm.
"What are you always so afraid of?" I asked him. "Don't you understand that what you have written will get you out of almost anything you might get yourself into?"
There was no answer, but looking into his face, I could see his thought as plainly as if he had spoken out loud.
"You think that it is what you have they written that will want to get you for," I said.
A few days later, on February 4, 1968, just before I was to leave for my brother's birthday party, which was to be held on a big boat moored off San Pedro (James Gould Cozzens fans, note well), I slipped and fell and broke my hip. Tom had been invited to the party and, in fact, did show up, striking an acquaintance with Susan, a friend of Chrissie's from San Marino. Susan has red hair and is breath-takingly beautiful, with the voluptuous body of a showgirl. Like Chrissie, she is much brighter than she looks, but if Chrissie plays the Dragon Lady, Susan plays Gracie Allen. The children of San Marino, one of the headquarters of The John Birch Society, are careful to avoid open displays of subversive intellect. Susan once came to the shattering realization while strolling on a concrete sidewalk that none of the squares was true, that, indeed, there were no true perfect squares to be found anywhere in reality. She was overcome by tears, then by nameless dread. A psychiatrist in San Marino diagnosed her a paranoid schizophrenic and prescribed shock treatment and apparently was going to administer it on the spot. Now really in hysterics, she called her father, who very sensibly countermanded the doctor's orders and calmed his child himself. Since then, Susan has been very careful in guarding her emotions, to the point where she sometimes seems stupid and cold. It is a pose.
Evidently, Tom saw through her mask, for the two went off and lived together for a long time. They came to visit me in the hospital and later at home, too. The last evening they were there, Michael Vosse showed up. He had some tarry black ganja, which he said had been grown high in the mountains by natives who beat the plants with whips woven of silver thorns to make them produce more resin. We smoked the grass. It was indescribably intense. The pain of my broken hip expanded to fill the room. I found myself unable to stand Michael's presence in the room and, after much reflective delay, finally asked him to leave. Alone with Chrissie and Susan and Tom, I felt some relief, but now the smell of the kitchen garbage bothered me. Tom volunteered to take it out. Chrissie went off to show him the way. Susan and I lay back, unable to move. The mood turned overwhelmingly sexual. I wanted to make love to Susan, but I couldn't speak, overcome by the feeling and the karmic implications, my thoughts racing toward certain inevitable conclusions. The door opened. It was Tom and Chrissie. A little while later, he and Susan left. I knew then that it would be a very long time, if ever, before I saw him again.
Do you believe in ESP? I believe in everything and nothing. There are certain moments when it is all clear. The future lies spread out against your skull in blazing agony. There is the meaning of paranoia: not insanity but truth, the end of all our precious privacies, not the dignity of confession but the crazed gibber of the drooling beast.
Chrissie and I went back to New York. My career went from modest turn to modest turn and, before long, PLAYBOY sent me to do a story on hippie communes in California. She went on ahead of me while I stayed and finished a story on Herman Kahn that was purchased but never published. It was more than a month before I was to see her again. I felt the drift of her voice as she wandered off the telephone one day. It was nearly her birthday. I went down to B. Altman and sent her an ounce of Le De Givenchy. The day before I left to join her, it came back in the mail.
When I finally did reach Chrissie in Berkeley, where I had an assignment from The New York Times Sunday Magazine to do a story on the Black Panther Convention of 1969, the drift was subtle but very real. She was on her way to somewhere else and there seemed to be nothing that I could do to moor her interest. It was the week of the first landing on the moon. How appropriate that it was July, month of Cancer, of her birthday. After the convention, we visited a commune out in the redwoods and lived there for something like a month. Then I went off to Taos with a photographer and had various experiences, prophetic dreams and insidious anxieties I will possibly detail in some other work. I saw very far and well and truly, made certain decisions and returned to my wife not afraid.
One day we went for a walk in the redwoods and I said, "Chrissie, I love you more than any woman I have ever known, as much as I love my own mother. Something is troubling you. I think that it will make you feel better if you tell me what it is."
"I had an affair with Tom," she answered.
There it was. I felt all the things you feel in those circumstances, but mostly a sense of karma. Karma is what you get for what you do. It is also a certain perspective of reality. The words are flimsy, but the fact is about as graceful as a faceful of shit. Once, a long time ago. I had an affair with another man's wife. The correspondence between the two events is not quite as algebraic as you might think. The private affair of married persons is merely a fact of life. We are all one person, really, and what one of us experiences the other must necessarily experience. too. I should like to say that I was calm and noble when my turn in the barrel came. Unfortunately, that would be a lie. I do not like to lie. I define honesty, though, as the ability to admit that you lie. I will spare you my hysterics. They lasted long enough.
The ethics are rather clear. People are not property. The hysterics over, Chrissie and I went on to attempt to reconstruct our marriage. In the course of that work, there were many conversations about what went on between the two of them that I suppose ought to be considered privileged. For the sake of the historical record, however, I do want to share a few of them with you. He was a wonderful lover, sensitive and quick, with the ability to project a mood that turned the most ordinary surroundings into a scene out of a masterful film—the reeking industrial slum of Manhattan Beach would become as seen through the eye of Antonioni, for example. Still, she found him somewhat unworldly and bookish, easily astonished by her boldness. Once, out on the freeway, she told him that we had all gone naked at the commune. He professed to find that incredible and dared her to take off her blouse right there. She did. A passing truck hooted its horn in lewd applause. He loved her Shirley Temple impersonations—On the Good Ship Lollipop sung and danced like a kid at a birthday party. They talked about running away together. He promised to get a job. Well, at least to move out of the cave. On their way to do the right thing, to tell me the truth, he insisted on stopping to get a pizza to calm his stomach. Then they changed their minds, fearful of one of my outrageous tantrums.
There is more and maybe I will tell it another time. I have received no letters from Tom in a long time. What did I do wrong? And those other letters—whatever did become of them? Ask the Dahill Mayflower Moving and Storage Company of Brooklyn. They are the victims of my inability to hold on to anything, sold at auction during through the hospitals to replace my crippled hip with one of plastic said to be almost as good as the real thing. Most probably, the auctioneer never even knew the value of those sheets of faint-blue quadrillé. I miss having them, but I miss some other things more—the hipbone I was born with, an antique brass oil lamp with milk-glass shade in like-new condition purchased one sunburned summer afternoon in Elkhorn Junction, Nebraska, a gilded-wood schoolhouse pendulum dock that stopped working when my first marriage ended, a signed first edition of The Godfather with this inscription: "Dear Chrissie and Jules. You too can be rich and famous. See how easy it is. Mario."
Playboy Article PDF – You only read it for the articles, right? Here's a PDF of the original Siegel article, complete with Gahan Wilson cartoon! [TBD]
Review of Lineland – Dr Larry Daw's scathing review of Jules Siegel's other attempt to cash in on his relationship with Pynchon.
Author: Jules Siegel
Source: Playboy, March 1977
Return to: Pynchon Articles
Contact: quail(at)shipwrecklibrary(dot)com


Hey, guess what! It's time for another Funny Bone Friday. This video is one of my personal favorites and I bring it up all the time so I'm sure Bones and Patch will just roll their eyes when I post it but... I'm doing it anyway.
This video is called Josh Groban Sings Kanye West Tweets. It was a part of a Jimmy Kimmel episode that I will forever love. Enjoy!


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arcuser
ArcGIS StoryMaps: Revolutionize the Way You Tell Stories
You've got a blockbuster of a story to tell that includes marvelous maps, fabulous photographs, and a riveting narrative. To help you tell your story simply, powerfully, and with style, Esri has developed ArcGIS StoryMaps (esri.com/storymaps).
This new story builder gives you intuitive tools to add maps, pictures, and videos to your narrative; incorporate stylish design; and choose from among predesigned themes that harmonize your story's visual elements.
Why add a new storytelling builder to the repertoire of popular Esri Story Maps app templates like Story Maps Tour, Story Maps Cascade, and Story Maps Journal?
Well, here's the story.
Esri has been enabling place-based multimedia storytelling for more than seven years, providing everyone—from GIS professionals to journalists and from conservationists to scientists—with the app templates to tell compelling stories about their work. Almost one million stories have been produced using the classic templates.
The block palette contains every element needed to assemble a narrative including regular paragraph text, headings and subheadings, story dividers, quotes, maps, images, and videos.
But time and experience taught members of Esri's StoryMaps team—who develop and test the builders and make story maps themselves—that changes needed to be made. The project to design a next generation product launched in 2018. It quickly became clear that to incorporate new features and improved performance capabilities, the team needed to create a new resource rather than continuing to incrementally upgrade the existing storytelling templates. The key benefit of this decision is that you can create a variety of story formats within a single builder.
Based on lessons learned by the team and feedback received from thousands of people across the large Esri Story Maps community, ArcGIS StoryMaps was developed to include the following features:
A single, unified builder allows you to mix and match the various formats and user experiences from Esri's classic templates and several new formats.
A new themes function lets you refine the look and feel of your story with a single click.
With Express maps, you can make simple maps in mere minutes.
New publishing workflows let you make changes to a shared story but publish your edits only when you are ready.
A completely redesigned mobile experience minimizes load times and maximizes ease of reading.
Of course, thousands of people use the classic app templates and will want to continue using them. Although the classic apps will be available for some time, try ArcGIS StoryMaps because this new storytelling builder makes it easier and more enjoyable than ever to create rich multimedia narratives.
Each theme has its own combination of colors, fonts, and basemaps. The first release has two themes: the light background (Summit) and the dark background (Obsidian).
"The new story map template will allow users to mix and match different classic functionalities, all in a one-stop-shop template," said Amanda Huber, a Minnesota-based GIS technician who helped test ArcGIS StoryMaps before its release. She liked how ArcGIS StoryMaps combines the feel of the Story Maps Tour template with the scrolling flow of a Story Maps Cascade template.
Tell a Story Using ArcGIS StoryMaps
The heart of the new ArcGIS StoryMaps is the story builder, and its main feature is a block palette. In the block palette, you can find every element you need to assemble a narrative: regular paragraph text, headings and subheadings, story dividers, quotes, maps, images, videos, and more.
The block palette includes some special items that you should find particularly useful. You can use the embed block to insert web pages, Tweets, and other external web content, either as fully interactive items or as compact cards with titles, thumbnail images, and links.
The sidecar block, the first of several immersive blocks added to the builder, combines a scrolling narrative panel on one side (accommodating text and multimedia items) with a stationary media panel on the other side to add a unique reading experience to your scrolling story. You can create a series of these pairs, or slides, within a sidecar block, resulting in an experience that closely resembles the classic Story Maps Journal template. Soon, you will see a block that emulates (and improves on) Story Maps Tour.
You can build your story, block by block, using the palette—and you can insert new blocks between the ones you've already created. All the while, your story is saved automatically, eliminating the risk that a browser crash or other mishap will result in lost work.
People are increasingly using story maps as a dynamic, easily updated alternative to Microsoft PowerPoint for giving presentations. With that in mind, Esri will soon introduce a new feature that will let you replace the vertical scroll of the current ArcGIS StoryMaps (and the classic Story Maps Cascade) with a horizontal scroll through a series of slides.
Yet another cool feature of ArcGIS StoryMaps is a design panel that lets you change the theme—the look and feel—of your story with a single click. Each theme has its own combination of colors, fonts, and basemaps. Initially the builder offers themes with a light background (Summit) and a dark background (Obsidian). In the future, new themes will be added. Capabilities will also be added to give you greater flexibility in customizing your stories to match your tastes and your organization's visual style.
The new storytelling builder also makes editing and publishing easier and more flexible. You can create drafts and publish stories for your organization or the public. You can also make extensive edits to a published story. Your edits will be saved as unpublished changes until you're ready to have them appear in the published story. As a final touch, the ArcGIS StoryMaps builder automatically generates a prepopulated panel or card, with title and thumbnail image, that appears in social media posts.
Remember—all these features will be available within a single builder. You'll be able to mix and match them in fun and creative ways.
Incorporate Web Maps, Web Scenes, and Express Maps
Shame on me for coming this far having barely mentioned maps! Maps, after all, are what make Esri's storytelling tools uniquely useful and powerful. ArcGIS StoryMaps lets you seamlessly integrate the web maps and 3D web scenes that you've created—or that you've discovered on ArcGIS Living Atlas of the World—into your narrative. Both will work beautifully within the new story maps, even on mobile devices.
ArcGIS StoryMaps introduces express maps so you can quickly create simple, beautiful maps featuring one or a series of points, lines, and areas.
ArcGIS StoryMaps introduces a new mapping alternative: express maps. With express maps, you can quickly create simple, beautiful maps featuring one or a series of points, lines, and areas. You can create pop-ups with images, titles, and descriptions, and you can add helpful annotations like text and arrows.
Storytelling for Everyone
Story maps have become a kind of lingua franca of the geospatial realm. ArcGIS StoryMaps will be even more useful for geospatial professionals and help make place-based storytelling easy and accessible for everyone. Students, researchers, designers, public affairs professionals, and hobbyists all want to tell stories, and they stand to benefit from a product that makes creating highly polished multimedia narratives easy.
These are challenging times. It's more important than ever to use the tools of the digital age to inform the public about issues that affect the health and well-being of individuals, communities, and our planet. Story maps can play an important role in raising awareness; increasing understanding; inspiring people to action; and, ultimately, telling the story of the earth.
esri.com/storymaps
Allen Carroll
Allen Carroll is the program manager for storytelling at Esri. He founded the Story Maps team, which develops web tools for creating place-based stories that combine interactive maps and multimedia content. Carroll came to Esri after 27 years at the National Geographic Society. As the society's chief cartographer, he was deeply involved in the creation of its renowned reference and wall maps, globes, and atlases.
storytelling with maps
arcgis storymaps
Become the 2019 StoryMapper of the Year
Enter the 2019 StoryMapper of the Year Contest sponsored by Esri.
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10 Essential Steps for Story Map Success
Bern Szukalski | Winter 2017
Make Your Story Map Successful
Tips for making your Esri Story Map app compelling.
Something Old That's New
Read the next article in this issue
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ArcUser Summer 2019
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Fill out this form to subscribe to ArcUser, the magazine for people who use Esri's GIS technology. Its articles provide practical, technical information that will help you employ the most effective strategies for implementing GIS, and better understanding GIS technology.


You should have the best vacation obtainable, so reserve yourself a room at Twin Rivers Motel. A quick trip to Chetopa Creek near Twin Rivers Motel is a delightful idea, and you'll in all probability meet some people from Neodesha here. While you're here at Twin Rivers Motel you can play some golf at Independence Country Club, and a magnificent place like Elk City State Park is too glorious to leave out.
These are some hotels near Twin Rivers Motel, Neodesha that can be booked online.
These outdoors activities are available near Twin Rivers Motel.


The 50+ Forum is putting on a show in Pontypridd, with dancing, poems, monologues and songs from their members. The audience is invited to join in with community singing, and the male voice chorus Hims and Arias, will be singing in English and Welsh about the time of year and the local area. There will also be an exhibtion of arts and crafts made by the members.


Will unexpected inputs cause a runtime error?
How much of my model/code have I really tested?
Reactis Tester employs a patented technology called guided simulation to build test suites. The tool tracks an array of coverage metrics as it computes test data, and it uses uncovered targets of these metrics to influence the creation of subsequent tests.
Coverage metrics include generic objectives such as Decision, Condition, and Modified Condition/Decision Coverage (MC/DC), Simulink-specific measures such as branch and subsystem, and Stateflow-specific metrics such as state, condition-action, and transition-action.
Differences are automatically detected and flagged.
Coverage metrics include Statement, Decision, Condition, and Modified Condition/Decision Coverage (MC/DC).
As Reactis Tester generates tests, it performs an array of checks to flag runtime errors in your C code. Memory errors are particularly easy to make in C and can be very hard to debug. A memory error occurs whenever a program reads-from or writes-to an invalid address. Memory errors are particularly common in C programs because the C programming language gives the programmer direct access to the program's memory, which can boost performance but also allows software defects to access arbitrary memory locations.
Some errors flagged by Reactis include out-of-bounds array indexes, buffer overruns, dangling heap pointers (accessing a region of heap-allocated memory after the memory has been freed), dangling stack pointers (accessing a pointer to a local variable of a function after the function has returned) and the use of pointers cast from incorrect numeric values. Reactis Tester not only detects these types of errors, it returns a test that can be executed in Reactis Simulator to pinpoint the underlying cause of the error.
How do I understand, diagnose, and fix a bug?
Execute a block, single step, or multiple steps at a time.
To see data values, hover with the mouse, open a scope, or add to watched variables.
Unexercised parts of model are highlighted in red.
When using the Reactis for C Plugin or the Reactis for EML Plugin, its like having an advanced source code debugger right in your Simulink environment. Debugging Simulink, Stateflow, Embedded MATLAB, and C code is all controlled from the same simple interface.
Execute a single statement; step into, over, out of functions; execute a full step or multiple steps at a time.
Unexercised parts of code are highlighted in red.
Will the brake always deactivate the cruise control?
Validator uses a test and check approach for verifying models or code. You first instrument your model/code with checks that monitor whether behavior is consistent with expectations. Validator then uses the test-generation component of Tester to create and run test data to see if any checks can be violated. These tests can then be used to diagnose the cause of any abnormal behavior detected.
Validator gives a user two ways to define a check: as simple textual expressions similar to the assert capabilities found in programming languages, or as a Simulink / Stateflow model. In the latter case, the model implementing the checks is intended to monitor the behavior of the controller model and raise flags if any violations are discovered.
Eliminating runtime errors is important, but only one step towards high-quality software. A program that does not crash, but does the wrong thing is also unacceptable. Reactis Validator gives you a way to formulate and perform checks that your program is operating properly. Checks are formulated in a way similar to the assert mechanism of C.


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Giro finale
Photo ©: Bettini
An interview with Nicolas Roche, October 16, 2005
Back in green and happy with year one
The 2005 peloton includes quite a few riders with famous family names. Axel Merckx, Frank Vandenbroucke, Kevin Van Impe and Herv� Duclos-Lassalle are some of those, and so too Nicolas Roche, son of the Irishman who in 1987 won the Tour de France, Giro d'Italia and World road race championships in one season. Cyclingnews' Shane Stokes caught up with Roche after re-declaring for Ireland to get a verdict on 2005 and his plans for 2006.
Wolf and cub...
Photo ©: Shane Stokes
Living up to his father Stephen's achievements was always going to be a difficult task. However, much as Axel Merckx did years earlier, Roche Junior nevertheless decided to give up soccer and concentrate on the sport which made his father a household name. That comes with both advantages and disadvantages: he's guaranteed more attention than many other young riders, but also faces more pressure and the weight of expectation. He has taken it in his stride, though, riding well over the past few years.
In 2004 he had a consistent stream of placings in France plus a bronze medal in the Irish road race championship; this earned him a stage with the Cofidis team, the trial turning into a two year pro deal when he netted a tenth place in the GP d'Isbergues.
Heading into the 2005 season, Roche was just 20 years of age and the youngest rider on the team. But he quickly got into his stride, riding well in the season-starting Etoile de Bess�ges. He was away during a long breakaway on stage 2, and then helped set his team-mate Jimmy Casper up for a final-day victory by going on the attack inside the final ten kilometres of the last stage.
In April he showed the same aggression when he went clear with 11 others in the Tour du Finist�re, finishing a fine sixth in the 1.1 event. One month later, he went better again when he placed fourth in the similarly-ranked Tour de Vend�e. However that upward trajectory was disrupted when he dislocated his elbow in June. He came back from that and showed good form later in the summer, riding well in support of team leaders Sylvain Chavanel and Janak Tombak.
Roche was pleased with his debut season, although his natural ambition means that he up-scaled his expectations after a couple of months. "It's pretty much what I was aiming for," he told Cyclingnews. "At the beginning of the year I said that I wanted at least one or two top ten places. So when I got two of them I was happy enough with that, at first. But then you want to get a third top ten or perhaps a victory, as well�you always want more."
Doing what Dad did...
Photo ©: R�gis Garnier
As regards 2006, he's already laid out his plans. "I want to be competitive from the start of the season next year. I should be doing the Giro or the Vuelta; the team said I would be doing a big Tour, and I doubt it will be the Tour de France. I should be doing one of the other two.
"I'm happy with that - doing a three week tour will be my big goal for 2006. Once I know which one I'll be doing, I will focus my preparation on that goal. I want to be very competitive for that and to finish it."
Although Roche will spend most of the year in the red, white and blue of Cofidis, he will also have the chance once again to don the green of Ireland. Earlier this year he announced that he was declaring for France, opting for the same nationality as his mother Lydia. He said at the time that he was told he had to decide between Ireland and France, and plumped for the latter as he plans to spend the rest of his life there. However, he has since found out that dual nationality is indeed possible, and so has reversed his decision in order to go back to riding with those he grew up with.
Roche is happy, and so too those involved with Irish cycling. After all, he is he the only rider currently on a ProTour team and, as his debut season suggests, a very good future may well be in store for the 21 year old with a famous family name.
Cyclingnews: First off, Nicolas, how are things going for you at the moment?
Nicolas Roche: I am keeping well; I'm enjoying my break. I finished early this year as I had a small bit of tendonitis in my ankle and also strained a ligament in my upper leg.
CN: How was your year in general?
On the podium
NR: I had pretty good results in March, April and May. They were my good months. I got sixth in the Tour du Finist�re and then fourth in the Tour de Vend�e. The thing is that with a team like Cofidis we always have to ride for the leaders, so in the other races I was doing that. I did mainly stage races this year - four to five day events, and most of the time we had to ride for the team leader. Twice that was Chavanel and once Tombak; they got the jersey so we had to defend that.
As I said, my best months were March to May. I then had a bad crash in the Tour of Luxembourg in June. I dislocated my elbow but was, luckily, only 10 days off the bike. So it could have been worse.
CN: Looking at the results you got in that good period, did the year work out better than you expected when you turned pro over the winter?
NR: No, it's pretty much what I was aiming for. At the beginning of the year I said that I wanted at least one or two top ten places. So when I got two of them I was happy enough with that, at first. But then you want to get a third top ten or perhaps a victory, as well�you always want more.
In one sense I'm happy because I started well, but then I had the crash so that changed things round. In July I wasn't going well, then I got things back on track in August. On one of the days I had a good ride�it was on the hard stage of the Tour of Benelux, where I did 200 kilometres in the breakaway. There were 12 of us up the road all day and we were only caught by the chasing group with 20 kilometres to go. I finished 70th or 80th overall in the end - I lost time on the two last stages as I wasn't motivated.
Then we had to ride for Chavanel in the Tour du Poitou Charentes, so I had to be in good form there. We all sacrificed ourselves as that was his home race. He absolutely wanted to win down there, and in the end he and the team pulled it off.
I was hoping to get a few good results in the one-day races after that but Cofidis said that I was going off to do the Tour of Poland. I went there but after the third stage I crashed. I finished the stage, but didn't complete the next day because my ankle was too swollen.
CN: Was that your last race of the year, then?
So French, but still Irish.
NR: Yes, my ankle was at me quite a bit. It's better now; today was actually my first spin back on the bike. I did two hours on the mountain bike.
CN: So what is your plan for the winter?
NR: Well, I'm going to start back on the first week of November. I usually start the first week in December but because I finished a month earlier, I'll start back a month earlier as well. The plan is not to overdo it, just to ride and keep the weight down. I want to be competitive from the start of the season next year. I should be doing the Giro or the Vuelta; the team said I would be doing a big Tour, and I doubt it will be the Tour de France. I should be doing one of the other two.
I'm happy with that - doing a three week tour will be my big goal for 2006. Once I know which one I'll be doing, I'll focus my preparation on that goal. I want to be very competitive and finish it.
CN: I guess you'll also be trying to get a win next year?
NR: I would like to. Of course, I can't aim for a win in a ProTour race at the moment, but hopefully I can try to get a victory in a French Cup race. This year I did a few and was in the front group�I had those two results plus a couple of top sixteen and top twenty places. I was just missing that little extra. The day I was fourth, I was the one who broke it [the group] the first time, then the second time and then the third time when there was only four of us. But I was just missing that little bit extra I needed.
Also, when there were six of us in the Tour du Finist�re, I had to work for Moncoutie. There were twelve of us in the break then he came across. Once he was there I had to ride for him; he went away on the final climb, then I was second in the sprint behind.
CN: You declared for France earlier in the season but have now said you will compete again for Ireland. What is the situation there?
Riding hard to Third
NR: Well, things changed rapidly this year as there was a bit of pressure. The season was coming up fast and I was told things that were not exactly true, as regards it being said that I couldn't have dual nationality. So I precipitated my choice and went for the easy option - trying to keep things simple, as the season was coming up so quickly. Then, as the year went by, I realised that in many of the races - the International races - I was still Irish on the results sheets. So I saw that I was mistaken. I could have continued to race for Ireland. In the end, I checked around to see what the full story was. I realised that I had the opportunity to be able to change back, so once I was sure I could, I made the decision to go back for Ireland.
CN: What did redeclaring for Ireland involve?
NR: Well, it is partly thanks to Pat McQuaid, who found things out for me. Also there was input from the UCI, the French federation and, of course the Irish federation, for wanting me back. I also have to thank Miceal Concannon [Cycling Ireland president] and Frank Campbell for their support. They helped me too.
I'm happy to be back. Even though I am French as well, I was always proud to be Irish. I have two passports but now have an Irish racing licence. That's definite now.
CN: So, do you feel this will make it easier to get onto teams in the future; for the Olympics and world championships?
NR: Maybe, or maybe not. There are good riders in Ireland as well and the country will have less places available than France for some events. There will be riders going for those slots as well so it's not going to be much easier.
The advantage is more that there is a big family feeling�we all know each other and grew up racing together. I found that it was easier to work together in that situation. Of course, if it ultimately does end up being to go to the worlds or to the Olympics as a result, that will be good too!
CN: So what's the plan now?
NR: Well, I'll go to Spain in a few weeks time so I'll start down there and go with my girlfriend to one of my dad's training camps. I will start my training down there, taking it easy, and build from that towards 2006.
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In this exotic forest of succulents, the magic of colour and texture combine to present a kingdom of wonder in miniature.
The stunning colour of the Jade Point sits in contrast to the Black Aloe and the gorgeous Purpurea, together bring this miniature forest of fantasy to life in this large enamelled planter.
The succulents populating this exotic forest are Echeveria Purpurea, Campfire, Shrek Ears, Shamrock, Blue Chalk Sticks, Flap Jack, Graptoveria Margaret Rose and many others.