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January 21, 2010 Johanna Comic News	One comment
Twilight Graphic Novel Details, Preview Available
Yen Press announced that they would be publishing a Twilight manga adaptation last July. Now, more details on Twilight: The Graphic Novel are available.
Of note: the title clearly labels it a graphic novel, which is probably better than calling it manga (which comes with all kinds of assumptions attached). The book will be hardcover, list price $19.99, although Amazon already has it at 45% off, for a price of $11. The release date is March 16, 2010. At the time of this writing, it is the fourth best-selling book at the online retailer.
The hope is that this will expose more readers to the comic format, and this is certainly a great deal for Yen, but I suspect that these customers would buy anything with the Twilight logo on it. Whether they continue reading graphic novels would depend on whether there's more easy-to-find material that they will enjoy. (Yen is also publishing a Gossip Girl spinoff, so there's one possibility.)
The first printing will be 350,000 copies, a large number, especially for comics, but, given customer demand, a reasonable one. (The Twilight books are reported to have sold 85 million copies across four volumes.) This volume only adapts the first half of the prose novel, with a Volume 2 coming at a date to be announced. The artist, Young Kim, is Korean, and this is her first major sequential work. She is adapting with feedback from author Stephenie Meyer. From Yen's press release,
A rare fusion of Asian and Western comic techniques is reflected in this black-and-white graphic novel with color interspersed throughout. Meyer consulted throughout the artistic process and had input on every panel.
That should reassure readers concerned about authenticity. Since Korean comics are printed left-to-right, there should be no issues with panel flow (as there would be with a manga). Based on this EW preview, the characters are appropriately moody, but the dialogue fonts are horrible. They need to use hand lettering (or a facsimile) instead of typeset lettering. For more information, buy Entertainment Weekly on Friday; they're promising a 10-page preview and interview with Meyer.
Pingback: Diamond Gem Awards Show Comic Market View of Manga | Comics Worth Reading


So, how does this relate to the two Degree form of Masonry, which is the most recognized start of Speculative Masonry?
Or, in more likelihood, there was a time after Freemasonry became Speculative but before it was infused with knowledge from other esoteric paths. I wouldn't expect the early Masonry to reflect all the symbolic beauties of the later, because, to put it in alchemical terms, it hadn't had time to ferment yet.
How is it that I have arrived at this knowledge at 55,never having any interaction with M?asonry? Taoism Buddhism Shamanism Alchemists Kaballah Judaism Christianity Mormonism I=Ching Freud Reich Jung Neill Leary hitcb hiking around the country living in a commune successful businessman Master Telecom Technician astronomy geology pyramids copper gold drugs much traveling and living in diverse cultures. This is how I arrived at this awareness...fascinating that York Masonry got there first..
Some interesting theories are presented, but i'm not sure if I believe them. I have contacted an Alchemist that I know and he knows of Timothy Hogan and my alchemist friend was surprised that I had gotten a copy of this book. Mister Hogan is respected amongst the Alchemical field and some of his theories are very interesting. I am always in search or further light, and Mr Hogan presnts a different type of light. To see more info please visit essayswriters.org/paper-writing.
I am Daniel, MM from South Africa.
We have created a lodge which will focus on the esoteric part of freemasonry which normal lodges don't do in my country.
I would like to read/present your article "York Rite Alchemy" in open lodge. Would you kindly grand me permission to do so please?


In this process we may mark movement discoveries in art, words or simple movement choreography. Valuable for dancers, athletes and any mover wishing to become more fluent in his/her body.
Book Appointments for 55 or 85 minute sessions.
These sessions draw from the practice of Authentic Movement. There is no prescribed movement or teaching of movement in these sessions. Movers attune inwardly and move spontaneously in the presence of one who 'witness' the mover, also with an inward attention. Within a session, movers may find impulses to create art, draw, or write. Both mover and witness have an opportunity to share their experiences.
Sessions in Somatics are valuable for those wishing to move with an inward focus. Whether working with intentional bodily sensed connections or spontaneous movement, sessions can lead to discoveries that may bring up past and present emotions.
Movement Fundamentals and Transformative Movement Sessions draw from Julie's work as a Certified Laban Bartenieff Movement Analyst and her work in Authentic Movement. Julie spent two years becoming a CLMA and two more assisting in Certification classes. She is a graduate from Moving On Center, Oakland where she was exposed to the field of Somatic Movement, Movement Therapy, Theatre Arts and more. She spent two years in Nepal studying Cultural Anthropology through Sonoma State University. In Nepal she encountered and apprenticed to teachers of Charya Nytra-(Ancient Temple Dances, literally meaning Daily Practice).
Her years spent training in meditation and early work with the practice of Authentic Movement inform her work as she guides sessions in Transformative Movement.


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FUNKYPANCAKE
an eye for the mundane
Dave Simpson Photography
Auckland Street Photography
Recent Photo Shoots
Instagram – concert photography
Instagram – auckland streets
hassock of the week
Sunday 25 Sep 05
from brother edd. is this chap threatening the snakes with a rolling pin ?
Tags:hassocks
previouswhat are the chances of that ?
nextmy wife still surprises me
lunch with a penguin Wednesday 10 Mar 10
esther with a frozen leaf Saturday 01 Jan 05
lovely long bay Tuesday 04 May 10
coachio Friday 10 Nov 06
you can find love in the strangest of places Tuesday 13 Apr 04
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Site and images copyright Dave Simpson / Funkypancake.

redpajama_set_name: RedPajamaCommonCrawl


Give these user favorites a spin.
The original OxiClean is a stain-fighting force to be reckoned with, but its laundry detergent is a powerful standout as well. White loads are restored to pristine crispness, and colors stay vibrant without any fear of fading. Users with kids also note how effective this formula is at removing food and dirt stains.
This user-favorite pick is one of Amazon's best-selling liquid laundry detergents, and it even won the consumer-voted 2018 Product of the Year award in the ever-growing laundry pacs category! The updated detergent formula is also enhanced with Downy fabric softener to prevent clothes from fading and stretching out.
For those who want to go the all-natural route, this top-rated laundry powder from Molly's Suds is a great swap. It's a sodium-bicarbonate-based formula that's also cruelty-free, vegan, and contains no harsh or toxic chemicals, dyes, or perfumes.
The powdery substance might feel a little old-fashioned to use, but it's actually formulated to be safe for all septic systems and high-efficiency washing machines.
Dread laundry day a little less by using detergent that makes you feel (and smell!) like royalty. The Laundress Signature Detergent is a highly concentrated liquid formula — meaning you only have to use a small capful per load — which cleans thoroughly, removes stains, and imparts a musky, creamy scent to your clothes.
For washing your baby's clothes and linens, consider switching to a detergent brand that has sensitive skin as one of its top priorities. Dreft's hypoallergenic solution is made from 65% plant-based ingredients, making it a USDA-certified bio-based product. Users love it for washing regular laundry loads and because of its effective stain-fighting properties, its "innocent smell," and for being a great alternative to more potent detergents.


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Q: How To Compare Number Of Lines In 2 Files Using IF/Then Bash Command I would like to compare the line counts of two separate files. While I have tried using wc -l in the comparison, I'm struggling to get it working properly.
I have:
if [ "$(wc -l file1.txt)" == "$(wc -l file2.txt)" ]; then echo "Warning: No Match!"; fi

However, the if/then statement does not return the correct output.
If file 1 and 2 have the same number of lines, what is the proper way of writing this code?
File1.txt:
example1
example2
example3

File2.txt:
example4
example5
example6

Update: We found that the wc -l command must return a digit only for the comparison. Unlike the question Why should there be a space after '[' and before ']' in Bash?, this question requires using wc -l to get an integer that can be compared the number of lines in separate files.

A: Could you please try following and let me know if this helps you.
if [ "$(wc -l < file1.txt)" -eq "$(wc -l < file2.txt)" ]; then echo 'Match!'; else echo 'Warning: No Match!'; fi

Examples for above code:
Let's say we have following Input_files:
cat file1.txt
I
am
Cookie

cat file2.txt

I
am
Cookie

Now since we could see number of lines are not equal in both the files so following result will come.
if [ "$(wc -l < file1.txt)" -eq "$(wc -l < file2.txt)" ]; then echo 'Match!'; else echo 'Warning: No Match!'; fi
Warning: No Match!

Now if we make both the file's lines equal now as follows.
cat file1.txt
I
am
Cookie
cat file2.txt
I
am
Cookie

Now when we run same code it will give as follows.
if [ "$(wc -l < file1.txt)" -eq "$(wc -l < file2.txt)" ]; then echo 'Match!'; else echo 'Warning: No Match!'; fi
Match!

A: You need to have a space in between your brackets and your comparison expression:
if [ <expression> ]; then echo "Then Do Something"; fi

So in your case it would be:
if [ "$(wc -l file1.txt)" -eq "$(wc -l file2.txt)" ]; then echo "Warning: No Match!"; fi

redpajama_set_name: RedPajamaStackExchange


For the last year or so, corporate social responsibility (CSR) has been the buzzword on every business' lips. What is it? How do we do it? How much will it cost? And what are the benefits? Well, broadly speaking CSR is about assessing and taking responsibility for your company's effects on the world around you and more often than not, it refers to businesses who go above and beyond the call of duty. No longer is it enough to use energy efficient lights bulbs and put some recycling bins in the staff room, if you want to jump on the CSR bandwagon and reap the PR benefits then you need to think outside the box.
For example, a customer is likely to buy a pink umbrella for a couple of pounds more than a black one if they see that some the proceeds are going to Breast Cancer UK. Consumers are more likely to buy from American Apparel because they know that their garments haven't been made in sweatshops and they like to buy Pampers nappies because it means they're helping vaccinate children in developing countries.
With a string of bad news stories over the last year (Horse meat, Primark's sweatshops, tax avoidance) we're now in an era where customers are becoming better educated about their purchasing decisions and the impact it has on other people and places. In addition to this, employees are seeking greater job satisfaction or a higher purpose to their careers. As such, companies need to start incorporating CSR if they want to keep and build their customer and employee base in increasingly competitive markets.
Fortunately CSR doesn't have to be about giving something for nothing, but can become an integral part of your PR and marketing strategy. When a business goes into partnership with a non-profit organisation, it creates an opportunity for positive visibility. So take the chance to report on the difference you're making. A USP like this can be the difference between having an ok product and making it a household name. Plus, you might inspire others to do good too!
As we've previously mentioned, employees can get easily bored doing the same thing day in and day out. Empowering them to make a positive difference in your local community might be exactly what you need to foster team spirit, boost staff moral and attract more good seeds to your business. Again, something like community action offers a great photo-op to plaster all over your website, social media and local newspaper.
Internally, you should check out your suppliers, distributers and other associates. Are they ethical? Do they limit their environmental impact? Do they provide good working conditions? After all, everyone you work with can impact your reputation and if they mess up your name is likely to get dragged through the dirt too.
But remember that overall these things shouldn't be hollow promises. Don't just pick a charity that offers the best exposure, choose one that's relevant to you and your business. If people think that you're faking it just for the camera you'll probably end up doing more harm than good. You need to actually make an impact, raise hopes, enrich your community, increase awareness and try to leave the world a better place than you found it. That's the point of CSR.


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Stockade Works Pilot Crew Boot Camp
Stockade Works completes its Pilot Crew Boot Camp
Stockade Works completes its Pilot Crew Boot Camp!
For three whirlwind weeks in July, participants in the very first Stockade Works Crew Boot Camp worked alongside industry professionals to learn key positions on a film set and then put those skills to the test during a low-budget independent film shoot entitled, "The Rest of Us."
Out of over 150 online applications, 23 participants were selected to take part in our pilot crew boot camp with graduates placed in assistant positions on the three-week film shoot produced right here in the Hudson Valley.
Stockade Work boot campers (dubbed our beloved "booties") were put to the test during the filming of "The Rest of Us," a story set in the spring of 2001 against the backdrop of 9/11 and a contagion of suicides on a university campus.
Our boot campers stepped up to the challenge, supporting all the departments on a film set including production, assistant director, camera, art, wardrobe, sound, grip and electric. We couldn't be more proud of our booties – they worked hard through long days of filming during some hot summer days here in the Hudson Valley, taking in a ton of information while having fun and making some great connections along the way.
Photos by Kashka Glowacka and Chris Rahm of Northguild


Want to look like your favorite member of the Glitterati club? Now you can! This officially licensed Queen Bee costume includes and striped dress, crown headpiece, and glitter body sticker, so you'll look just like your favorite LOL Surprise character!


friends who will be attending the event to do the same.
Available by visiting the Eventbrite website or on the Animation College Facebook page.
For all the students who will be exhibiting work please see the attached document for the exhibition guide.


Vladimir Cosma was born April 13, 1940 in Bucharest, Romania, into a family of musicians. After receiving first prizes for violin and composition at the Bucharest Conservatoire of Music, he arrived in Paris in 1963 and continued his studies at the Conservatoire National Supérieur de Musique de Paris, working with Nadia Boulanger. As well as for classical music he discovered early on a passion for jazz, film music and all forms of popular music. From 1964 he made a number of international tours as a concert violinist and began to devote himself more and more to composing. He wrote various compositions including: "Trois mouvements d'été" for symphony orchestra, "Oblique" for violoncello and string orchestra, music for theatre and ballet ("Volpone" for the Comédie Française, the opera "Fantômas"...). In 1968, Yves Robert entrusted him with his first film music for "Alexandre le Bienheureux". Vladimir Cosma has since composed more than three hundred scores for feature films and TV series. He is dedicated to re-writing his film music with the intention of conducting performances in symphonic concerts, thus approaching a wider audience than at the cinema. Vladimir Cosma received two Césars for the best movie score, for "Diva" (1982) and "Le Bal" (1984), two Golden Sevens for the best music for television, as well as a number of prizes and awards in France and other countries. He has also obtained numerous gold and platinum records all over the world (France, Germany, Japan, England, Switzerland, Belgium, Italy, Holland, Scandinavia...) Vladimir Cosma is Chevalier de l'ordre National la Légion d'Honneur, Grand Officier du Mérite Culturel Roumain, as well as Commandeur des Arts et des Lettres.


Every year, anticipation surges forth along with spring. As soon as the trees are green and the sun makes its warmth felt, enthusiasts see life in yellow and ochre, counting the days until the last week of May and the first of June. That's the time for the sports event of the year; the French Open Tennis Championship at Roland Garros.
Second in the calendar of Grand Slam tournaments, following the Australian Open, the French Open at Roland Garros is a very special stage of the circuit for both players and spectators. The clay courts make this a formidable battleground that is feared by some and adored by others, but which has given this tournament its reputation as the most difficult in the world. It allows unknown players to blaze their names in the firmament of tennis while some established stars fall to earth, their lights dimmed.
The magic of the tournament also rises from the glamour and excitement of the Stade Roland Garros and its promenade where you can bump into a wandering celebrity, terraces where you can soak up the sun while sipping a drink, and its main courts where you can support your favourite players ... Why not enjoy a little shopping, too? Roland Garros is a temple of fashion, from panamas to polo shirts. Ensure you don't miss out on this unique atmosphere and the event's sporting challenges by booking your tickets on the tournament site. A few clicks and you can be there!
The Hotel Eiffel Blomet is only a few metro and RER stations from the Porte d'Auteuil, the prestigious part of the capital where the tournament takes place. It's so easy to reach the competition venue and then, after all the excitement, return to your hotel to enjoy the Spa and your comfortable room.


text:
<?php
defined('BASEPATH') OR exit('No direct script access allowed');

class Casualty extends CI_Controller {

	function __construct(){
		parent::__construct();

		$this->load->model('base_model');
		$this->load->model('volunteer_model');
	}

	public function index(){
		$data['districts'] = $this->volunteer_model->getDistrictList();
		$this->load->view('header');
        $this->load->view('casualty/view',$data);
        $this->load->view('footer');
	}

	public function report(){
		$data['districts'] = $this->volunteer_model->getDistrictList();
		$this->load->view('header');
        $this->load->view('casualty/report',$data);
        $this->load->view('footer');
	}

}

redpajama_set_name: RedPajamaGithub


text:
SEO FAQs With A Cumbria Twist
Local Audit
Find out how visible you are in your local area.
How Visible Are You Locally?
Many business owners still don't make best use of the techniques, tactics and broader strategies of Search Engine Optimisation to promote the visibility of their businesses when people search for their offering online in search engines. To many people, SEO is some kind of dodgy black art – as it once could be 6 -10 years ago. To others it's just a jargon filled nightmare that fails to deliver when done on the cheap. The reality is very different. Our series of SEO FAQs will clear the fog. Optimising your website for the right searches is an effective marketing strategy that delivers far better results than some dodgy politician's promises about the green fields of an "oven ready" Brexit deal. SEO is the digital marketing equivalent of tuning your TV in to the right station!
UK Audit
Find out how visible you are nationally!
Can People Find You In The UK?
What is SEO… What does SEO Stand For?
A lot of business owners in Cumbria wonder. "What does SEO mean?" SEO is the acronym for search engine optimisation. In plain English is a set of strategies that attempt to tune your website content and digital presence to what your potential customers want. Many people regard it as something of a dark art or something nasty that you shouldn't talk about in polite company, but that I'm afraid… is cobblers!
There are several components to this digital marketing discipline. Understanding what your customers are searching for online, requires keyword research. With that knowledge you are better able to tune your written and visual content in: to what they want. Then there's the technical part. Making sure that the page is set up properly so a visitor has a decent experience and finally promoting that content so it is seen by a wider audience, which may involve posting to social media, dropping some digital PR to alert people or persuading other websites to link to your content.
There are huge numbers of SMEs and microbusinesses which operate in a fairly small area, be that a town or a particular corner of Cumbria or the Borders. Local SEO is tuning the business' website content in just to searches looking for their service or products in that small area.
Effectively you are signalling to Google and the other search engines that you are the business to look for when someone searches for crime scene cleaners near Carlisle for example. One of our clients has a strong presence for just this specialism in Cumbria and the Borders. His content is explicit about the areas he serves with this highly specialised cleaning discipline. This is also reflected in the text used in the page's title tag and meta description.
What are Keywords and What Are Search Terms?
These two entities are the same. Keywords are the phrases that people type in to search engine software or speak into voice assistants. Sometimes they are obvious and used regularly. The phrase "plastic surgery" is used at least 22,200 and "mole removal" is typed in perhaps 18,100 times per month in Google's UK database. However, these are quite hard to rank on the top of the first page for, because everybody is trying to show up for them. Both have a Keyword Difficulty rating of over 75/100.
However, a local variation of the keywords such as "mole removal Carlisle" is only searched for 50 times a month. This is a keyword that is useful for a local clinic to show up for because it is much more likely that someone will call them if the clinic ranks for it.
What Is Ranking In SEO?
When SEO professionals and search marketers talk to business owners about "ranking", they are talking about the position of the business' website in search results. Most businesses are familiar with the notion that they want to be at number 1 in the results. Here's part of a typical search result page for "LPA guidance Cumbria".
This isn't as frequently used a phrase as some and it refers to a general area. This produces a fairly simple SERP with no ads, mostly simple organic listings and a "People Also Ask" box.
For most businesses it's important to "rank" on the first page of the search results in order to attract some of the clicks to your website. Ideally, your business will rank for many search terms rather than blindly trying to focus on just one single high volume phrase.
What is the Local Pack In Google's Search Results Page?
The local pack is the set of 3 (usually) results with a map listing which mostly appears at the top of a SERP where local intent is clear.
Here – the searcher wants teeth whitening… and they want it in Carlisle. So Google serves up this map result with locations that offer this and usually picks the three nearest to the searcher, particularly if the search is done on a phone.
Notice also that Google has been forced to display links to other search providers which is another reason for getting local citations up to date. At the bottom of the Local Pack the arrowed link takes you through to an extended set of Google Maps results known as the Local Finder. Below that, come one normal organic search link and then a People Also Ask section. So the Local Pack is an integral part of the SERPs.
What are SERPs in SEO?
The SERPs are simply the Search Engine Results Pages and nowadays they come in a bewildering array of formats.
Is SEO Dead?
No… and it's unlikely to disappear for many more years yet!
What Is SEO Marketing?
SEO in digital marketing is really the foundation of anything you do online to sell more services and products through your business. Marketing, despite its evolution through many technological revolutions, remains the art of positioning your "unique" offering in front of the right people, making it attractive enough to attract their attention and then arouse them sufficiently that they buy into your particular product or service.
Digital marketing simply takes this online to media like websites, social platforms and digital assistants. SEO marketing is simply building a sound basis to allow search engines to match your content with the people searching for what you offer.
What's Your Question?
FAQ Page Question Suggestion
What SEO related question would you like to see on this page? *


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WCC leader calls for peaceful, non-aggressive evangelism
The head of the World Council of Churches says that the Gospel needs to be announced in a non-domineering and peaceful way to a divided and violent world. He urges learning lessons from the past.
Cardinal calls on G8 leaders to keep their promises
Cardinal Cormac Murphy-O'Connor has led an international delegation to 10 Downing Street to remind Tony Blair of Britain's commitment to the G8 pledges made at Gleneagles.
MP slams lack of Christian radicalism
Clare Short MP, the former Secretary of State for International Development, has spoken of her belief that the world's richest countries are collaborating in slavery today in the same way Christian Churches collaborated in the Slave Trade over 200 years ago.
New Zealand bishops call for end to corporal punishment
Anglican Bishops in New Zealand have backed a move to end the smacking of children.
Baptists to focus on freedom and justice for migrants
Baptists from across the country will be travelling to Brighton on Friday (4 May) for the Baptist Assembly, the biggest Baptist event of the year.
Chinese Protestants emphasise autonomy and nation-building
A leading figure in the official Chinese Protestant Church has emphasised autonomy and patriotism as two of its main values. But he claims the church is not subservinet to the state and is able to carry out its Christian mission.
Scottish Christian Party tries to be 'so macho'
As Labour and the Scottish Nationalists battle for control of Holyrood on 3 May, an extreme political party claiming to speak on behalf of Christians is comparing equalities legislation with Nazi anti-Semitism.
New anti-discrimination legislation comes into force
Controversial new legislation came into force yesterday providing protections from discrimination on the basis of sexual orientation as well as on the grounds of religion or belief.
Churches continue to put money into 'forgotten' Asian tsunami recovery
Communities in Asia are slowly and patiently continuing the process of recovery from the major Indian Ocean tsunami of late 2004 – with the active support of churches and other NGO networks.
Latinos and Pentecostalism transforming US religion
A new study from the influential Pew Forum on Religion & Public Life charts the major demographic changes in US religious life, especially the impact of the growing Spanish-speaking population.
Archbishop's 'mass for migrants' in campaign for illegal immigrant amnesty
Thousands are expected to take part in a special church service next week to celebrate immigration and call for an amnesty for illegal immigrants.
Global campaign backs orphan aid and free primary education
Children in developing countries need free primary education, and the US should put hard cash into support for orphans globally - says a new campaign being backed by Mpho Tutu.
Scottish church leaders call on UK to back nuclear non-proliferation
Protestant and Catholic church leaders in Scotland have renewed their criticism on Britain's post-Trident nuclear weapons plans and have called for a major non-proliferation effort.
Church groups urge closure of tax loopholes
Church groups are demanding that Gordon Brown closes legal loopholes used by the super-rich to avoid tax.
London rally for Darfur is part of global action to end killing
Thousands of campaigners from civic and church groups have gathered in Downing Street to remind Tony Blair and world leaders that time is running out for Darfur, where 200,000 people have been killed and millions displaced.


text:
Fronteira da Mésia () é o termo moderno dado a uma coleção de fortificações romanas entre a costa do mar Negro e a Panônia, na atual Hungria, consistindo principalmente de fortes ao longo do Danúbio (a chamada fronteira do Danúbio) para proteger as províncias romanas de Mésia Superior e Inferior ao sul do rio. Além disso, o termo pode ser usado para incluir muitas outras linhas de defesa vinculadas que foram estabelecidas na região em diferentes períodos e posteriormente abandonadas em favor de outras, dependendo da situação militar.

Bibliografia

Fronteiras romanas

redpajama_set_name: RedPajamaWikipedia


Suddenly Single Sylvia is a novel written about a 55-year-old woman who begins to run a dating company. She sets some rules and boundaries, and with the help of her friends, it becomes a successful career. As fate has it, somehow, the rules set for herself becomes a struggle to keep. This humorous book takes you on a ride into the dating world. Things take a turn when Sylvia's ex-husband, becomes a client.
I found this book to be very enjoyable to read. This can be a great romantic comedy movie, with delicious content filled with relatable information on how the dating world has changed. What people are looking for? And to what extent are they willing to go in order to achieve it.
The book also offers dating tips and dating guides, because everyone needs one, right? Every character had a funny backstory and was looking for love in their funny way. They were all relatable and portrayed examples of true situations in the real world.
I found the literature to be in good form. There were barely any editing issues, and the story had a very nice flow to it. The dating world created was very entertaining and possessed a clever dialogue.
I recommend this book to people that enjoy reading humorous books about love.


text:
using System;
using System.Collections.Generic;
using System.Linq;
using System.Text;
using System.Threading.Tasks;

namespace Ch02.Ex01
{
    class EmailService : IMessageService
    {
        public void Send(User user, string msg)
        {
            // 寄送電子郵件給指定的 user (略)
            Console.WriteLine("寄送電子郵件給使用者,訊息內容:" + msg);
        }
    }
}


Two of the greatest tennis players of this, or any other generation face off once more in a grand slam final as Rafael Nadal takes on Novak Djokovic at the Australian Open. Follow all the action from the men's singles final in our live blog.
DOUBLE!! That's a terrible time for that from Nadal. 15-15.
The pressure is right on here - both men going for EVERYTHING, and Djokovic keeps in the point before nailing the off-forehand winner. 15-30!!
WOW. A series of deep shots from both men is ended with a drilled forehand down the line from Novak. Two break points!
And that's it! Nadal can't keep up, he hits the net yet again, and Djokovic will come out and serve for a two-set lead!
Wide serve goes well out - second serve ... Nadal crushes the return, and Djokovic hits it long. 0-15.
A short rally, nadal on the run tries the backhand up the line and misses. 15-15.
Djokovic back to his best, pushing Nadal to the corners, and he ends the point with a forehand to the corner. 30-30.
A big rally, with both moving each other around the court, but Nadal's backhand misses again. It's game point for Novak.
Finally an error from Novak, his backhand cross-court hits the net. Deuce.
Too good from Novak!! A string of perfect shots sets up the open court and it's ADV Djokovic.
WHAM! What a winner from Nadal. Djokovic looked set to get that Point, but Nadal crushes one on the run down the line. Deuce!
Second serve - Djokovic challenges the first serve, maybe to get some time.
A roar from Novak as Nadal pulls a cross-court shot wide. Game point.
More power shots from either side of the net, but Nadal can't keep the point going, and Djokovic consolidates the break.
Yet again, Nadal being pinned back by Djokovic's groundstrokes - eventually he crushes one well over the baseline. 0-15. Danger again.
A better point by Nadal positionally, but he misses the ball long - no challenge, it's 0-30.
ACE!! A great serve wide to the Djokovic forehand gets the point. 15-30.
And another error by Nadal, and it's two break points!!
Error by Djokovic, it gets back to 15-15.
That was a big serve, Nadal blocks it back wide. 30-15.
Another error from Nadal, he looked in control but missed the winner. 40-15.
An easy point to finish. Game Djokovic. Nadal needs to find some answers soon.
A quick point for Rafa to start.
Big rally!! Both players pounding the ball at each other, but Djokovic stays in it, and rifles a shot at Nadal at the net - he dumps it in the net. 15-30.
Nadal wrongfoots Djokovic, who loses balance and slips over. nadal wins the point, 40-30.
Nadal serves wide, Djokovic nets. It's 2-1 Nadal.
Nadal's forehand has really not been a factor here. He needs to change things up.
Second serve - Nadal hits a return off the frame, and ends up losing the point with a shot into the net. 15-0.
Second serve - Nadal putting huge spin on his returns, but its not helping. He makes another error and it's 30-0.
All right, can Nadal get an early hold here in the second?
Novak rips a backhand across court, dipping on Nadal who misses the return. 0-15.
Nadal gets the winner for 15-15, and then Novak blocks a return long and it's 30-15.
He needs some momentum badly ... but it's a second serve again.
An unplayable serve gets an easy point for Rafa ... and then he manages to pickup a forehand deep for a winner to hold serve. 1-0 Rafa, second set.
Djokovic 12 winners to 6 for Nadal.
29 overall points for Djokovic to 15 for Nadal.
Second serve - can Nadal put some more pressure on here?
That was more like a normal rally with Nadal pushing Djokovic back - an error and that's the first point on serve Novak has lost!
Second serve - the rallies are getting longer, but that one ended with Novak hitting a precise off-backhand into the corner for a winner.
Point of the match - 21-stroke rally, and Djokovic was having the ball ripped at him, but eventually the error came from Nadal., Two set points!
Not sure what Nadal can do right now - does he let things go and try to reset for the second stanza?
Wide first serve is out - another big rally, Nadal is having to go for everything just to win a point. he finally overwhelms Novak who hits the net. 30-0.
Second serve again - This time the rally ends with a tame forehand into the net from Djokovic. 40-0.
A first serve finally for Nadal, he gets the return and blazes it right to the corner with an off-forehand! 5-3.
Nadal is going for everything right now, he got a drop shot that Djokovic returned high over the net, but Nadal missed the backhand smash volley. 15-0. Novak yet to lose a point on serve this set!
And there's another brilliant rally by Djokovic - he moves his opponent around and Nadal eventually hits one wide. No answer here right now.
And another quick point ends with Djokovic killing it down the line for a winner. Five holds to love. Amazing stuff.
Second serve - another unforced error from Nadal, gets Novak to 0-15.
That was better! A breaking serve out wide is all but unplayable. 15-15.
A fired up Nadal hammers a serve down the T and comes in to pound the winner away. 30-15.
ACE!! Good serve down the T but Djokovic challenges - and it's out!
Djokovic blocks a return long - and it's a much-needed hold! 4-2 Djokovic.
And here we go again ... a rally has Nadal struggling a bit and then he hits the net with an approach. 30-0.
Djokovic is racing through these service games, he wrongfoots Rafa again, and it's 4-1!!
Second serve - finally an unforced error from Djokovic off the return. 15-15.
Great winner from Djokovic, rifling a ball into the corner. 15-30!!
Nadal was doing better, pushing Djokjovic to the corners, but the movement kept the point alive and Nadal misses the winner. Break point again!
Second serve - this time Nadal goes wide and Novak hits the return long. Deuce..
Already this is a crucial must-hold for rafa.
A big roar from the crowd as Rafa holds, but it took one more shot than it should have as Djokovic got an incredible ball back, and just made his error a shot later.
This was NOT what we were expecting - Novak is just nailing his shots and Rafa has no answer right now. If he doesn't rebound, this set could be gone, and in a hurry!
A quick early point for Djokovic, Nadal blocks one long.
Djokovic is just dominating here - he gets Nadal on the move again and hits one down the line to the corner for the winner. 40-0.
And an ace to finish!! 3-0 Djokovic. Warning signs for Rafa!
Second serve - a swinging second serve down the T, they get into a rally, but Nadal is under pressure and he hits one wide. 0-15.
Better first serve from Nadal, but Djokovic is on top from the get-go, pushing Nadal around the court before nailing a winner into the corner 0-30!!
More pressure from Djokovic, he is not making it easy for Nadal, great control there, error from Nadal. Two break points!
Whoa!! A quick rally - Nadal had djokovic on the run, but from the net he hit a forehand across couyrt, but it was just out in the corner. Break!!
Very strong first service game - Djokovic gets the advantage in the groundstroke department and Nadal finally hits the net. 1-0.
First out is Senor Nadal ... and there is one hell of a roar from the crowd on Rod Laver Arena!
What an unexpected pair for the final !
Not sure if you're being sarcastic, LM ... Nadal is a bit of a surprise, given his lack of prep for this tournament. But they are the two top seeds. Let's see what happens.
There is one thing that might keep us from a five-hour epic tonight - Nadal's coach Carlos Moya has done some redesigning on Rafa's game, to boost his serve.
The aim of it all is to shorten the points and avoid him running out of energy the further matches go.
Are you #TeamRafa or #TeamDjokovic this evening? Who do you think will take the Australian Open crown?
Tonight's final may well play a large part in shaping the year to come in men's tennis - and beyond.
With Andy Murray's emotional exit from the Open followed by a decision to undergo risky surgery on his hip, the old Big Four is definitely the Big Three. The GOAT, Roger Federer will turn 38 this year, and he has signalled he will play the clay-court season for a change, in what could be the beginning of a farewell run.
If Djokovic wins tonight, he will take a record seventh Norman Brookes Challenge Cup and be one win away from a second non-calendar year Slam. But if Nadal wins, he will join Roy Emerson and Rod Laver as the only men to achieve a double career Grand Slam.
Rafa would then head into his favourite Grand Slam at the French Open, as a big chance to achieve "La Duodecima" — his 12th Roland Garros crown — and move within one major title of Federer's 20.
Depending what happens tonight, the numbers game may spur on the three great players to try to advance or match the Grand Slam titles record - or it may set some of them thinking about an exit strategy.
Let's get to this right off the bat — it's a bit much to expect the Battle of Melbourne Park, round II.
A lot of water has gone under the bridge since then, and Nadal in particular has had a series of injuries to contend with, the latest being the knee problem that ended his season at last year's US Open.
As for Djokovic, the Serbian star had a two-year slump largely driven by chronic elbow injury that eventually required surgery - he came into Wimbledon last year almost written off by everyone. Since then, however, it has been Novak 2.0 who has taken all before him.
A Wimbledon title, followed by the US Open has seen a rejuvenated Djokovic hit number one in the world.
Who knows how long this run will last - so let's be thankful for the chance to see these two warriors go at it again in a Grand Slam final.
So it comes down to this - after all the talk of new eras and rising stars, of the future of tennis - we end up with the rematch of one of the all-time top tennis finals, between two of the all-time greats.
It's seven years since Novak Djokovic and Rafael Nadal went shot for shot on Rod Laver Arena for nearly SIX hours at the Australian Open. Now we get to see it all over again.
My name is Andrew McGarry, and I am excited to be here tonight to bring you all the action from the men's singles final.
Stick with us, it should be a belter.


Rather than "hug me" or "kiss me," children painted conversation heart canvases with messages like "text me" at the Valentines Kids Canvas Workshop at Color Me Mine on Sunday.
Over a dozen children visited the store and sat down to paint hearts which were already drawn in pencil on the canvases. From there, assistant manager Maisy Jacobsen worked with the children as they layered their canvases and added glitter and unique messages on their conversation hearts.
Michrowski said the idea behind these messages where to make them more relevant for the year 2019, so "tweet me" and "text me" were some examples of messages children used.
Elenna Yanez and her four-year-old daughter Zoey were with the group. Zoey's canvas, upon completion, shined under the store lights as a thin layer of glitter was doused on it.


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On 9 March, QTU State Council considered the outcomes of the Promotional Positions Classification Review (PPCR).
The QTU's message to the government, their employer, is that our school leaders are worth more!
A growing number of school leaders and classified officers are choosing to leave their positions because of difficulties with family care arrangements.
EB9: Time to walk the walk!
This EB it's not enough for the government to talk the talk. This EB, it's time for QTU members to see the government walk the walk.
One thing is abundantly clear: a fair outcome for school leaders will only eventuate when the complexity of leading a school in the 21st century is understood.


Do you want to empower your insurance sales force to increase your top and bottom lines?
The Insurance Sales Simulator (ISS) is an online, mobile and fully-fledged insurance sales training solution successfully adopted by Relationship Managers, Brokers and Underwriters.
We believe that the most effective way to train your sales team is to put them into real-life situations where they can develop and practice their skills. We also understand that it's often not possible or practical to train during a 'live' sales scenario and that's why we have developed the Insurance Sales Simulator.
Our Insurance Sales Simulator simulates part or the whole of your sales process for insurance products and helps participants to see the impact of their decisions in a safe learning environment. They can receive immediate feedback on their performance and understand the impact they have on improving your top and bottom line.
How does the Sales Simulator work?
Our Insurance Sales Simulator is a single player process with the option to add communities. The rules of the simulation are adapted to meet the needs and requirements of your company, and it can also be connected with your own Learning Management System (LMS).
Not only can your sales team develop a deeper understanding of your product portfolio and how to increase sales, it is also available 24/7, which means busy sales teams can complete the training at a time that suits their schedules.
We swiftly implement the insurance sales simulator within 3 months. Your involvement is limited to typically a dozen man days of project works only.
Our initial set-up fee and volume based subscription fee per user are transparent. No hidden charges or fees apply.
You can expect a return on your investment within 12 months.
The Insurance Sales Simulator empowers insurance professionals to better understand the whole or part of the sales process for insurance products in order to perform better in selling.
There are different modules depending on whether the professionals are Relationship Managers, Brokers or Underwriters.
The Insurance Sales Simulator for Client Managers is also designed for Relationship Managers, other insurance professionals as well as bancassurance and joint-ventures.
The Insurance Sales Simulator for Brokers is designed for Insurance Brokers as well as Agents.
This Insurance Sales Simulator for Underwriters is aimed at Underwriters from Primary Insurance as well as from Reinsurance companies.


Worn down, in a debasement more eternal than apocalypse. But that is nothing yet.
—Edouard Glissant, Poetics of Relation, p 6.
When LaToya Eaves asked me to write a commentary on black geographies, I was in the midst of teaching two courses: a graduate level seminar called Black/Geographies/Liberation and a third year undergraduate course called Black Feminist Thought. At that time, I thought: this will be easy, look at all you have read and taught and discussed over the term; look at everything that is black and feminist and geographic. The books in these courses included Black Feminist Thought, If I Can Cook/You Know God Can, Butch Queens Up in Pumps, Souls of Black Folk, Freedom as Marronnage, Trumpet, Kindred, Dark Matters, The Black Atlantic, Golden Gulag, Black Girl Dangerous, Poetics of Relation. My easy comfort was disrupted when I noticed Demonic Grounds had turned 10 years old when LaToya made the request. The book is aging. I have never read the book myself. I have glanced through it, taught it (only once), read passages occasionally, thought about it, given presentations on it. But I have never sat down and read this book, cover to cover. I never liked the subtitle (Black Women and the Cartographies of Struggle), which was recommended to me by the publisher. The book was originally named as my dissertation was: Demonic Grounds: Black Women, Geography, and the Poetics of Landscape. The original title couples Geography–the discipline and Eurocentric cartographic acts and the subversive geographies black women make–with the work of Edouard Glissant.
Glissant offers us a radical spatial politics that harnesses creative energy and the entanglements of world-wide relation engages the difficult project of honoring our collective inter-human lands without the mandate for conquest, without territorialization (Glissant, 1997, p 50, 31). So my ease unraveled into a terrible discursive burden with this old and aging book I wrote but have not read and a subtitle that erases black poetics. I have begun to forget parts of the book and in this have had to face the parts that are unforgettable. The auction blocks, for me, demand a kind of brutal unforgetting. The archives on slave auctions that I visited when researching the book–those sites delineated, sometimes with loud precision and sometimes through silence, practices of terror-making that require violent sexist anti-black dehumanization. Even as black women, men, and children are subverting and tearing down the dominant order [End Page 96] of knowledge at the moment of sale, the auction block makes the dehumanization of black peoples agreeable and profitable and delightful and awful and painful and desirable to witness. These memories need to be excised, forgotten. But of course they are not. The auction block as described by McKittrick in Demonic Grounds, I read somewhere, provides a way to think about the stage and about contemporary black performativity and black women's role in popular culture. I want to forget this. The dehumanization of black peoples is agreeable and profitable and delightful and awful and painful and desirable to witness. How can I forget this? I don't want it anymore.
My grandfather said he knew what people we came from. I reeled off all the names I knew. Yoruba? Ibo? Ashanti? Mandingo? He said no to all of them, saying that he would know it if he heard it. I was thirteen. I was anxious for him to remember.


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Q: How to avoid negative 0 or -0 values in javascript I have tried using toString() and the bitwise operator | but I would like to use the precision and string output. As @trincot mentioned, it is caused by the precision value for e.g. -0.45 will result in -0.  I have the code here.
typeof predictedHours //number e.g. -0.45
precision = 0
value={predictedHours.toFixed(precision)}
typeof value //string e.g. "-0"

Question - Is there a one liner to convert -0 to 0 in this line - value={predictedHours.toFixed(precision)}?

A: use Math.abs() to replace a -0 with an absolute number i.e. 0.

A: I'm not aware of a particularly clean way to do it, but there's always:
value={predictedHours.toFixed(0).replace('-0', '0')}

Or, in general:
value={predictedHours.toFixed(precision).replace(/^-([.0]*)$/, '$1')}

A: I think @trincot's suggestion is better so as to avoid any decimals like -0.48.toFixed(2) to be converted to positive. Took me a while to understand the regex. Just a little caveat though: Due to operator precedence negative numbers stay negative with toFixed when enclosed in brackets. Some examples here:
-0.001.toFixed(2).replace(/^-0$/, "0")
//0 '0'

console.log((-0.48).toFixed(0).replace(/^-0$/, '0')); Correct
//-0 '0'

console.log((-0.48).toFixed(2).replace(/^-0$/, '0')); Correct
//-0.48 '-0.48'

console.log(-0.48.toFixed(0).replace(/^-0$/, '0'));
//0 '0'

console.log(-0.48.toFixed(2).replace(/^-0$/, '0'));
//-0.48 '-0.48'

Also have a look at the examples here - toFixed()

A: You can also do value = +predictedHours.toFixed(precision) || 0 because -0 || 0 is 0


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Kannada TV Show - Kadambari Latest Updates, New Star Cast, New Future Story, Today Episode Written Update
Pavithra B Naik to act in a new serial Kadambari
There was speculation that Kadambari will premiere soon on television, but that's been put to rest by the channel by releasing a promo which has left fans of Pavitra in awe. Pavitra has shared her excitement of being the female protagonist of the show. She will be seen in the title role Kadambari.
Actress Pavithra B Naik has signed a new daily soap opera Kadambari, which will go on air soon. The title of the serial is derived from the popular yesteryear serial Kadambari, which had Swetha Changappa in the lead role. It aired in 2006 and had garnered the interest of television viewers.
The rest of the star cast is yet to be revealed along with the airing date and timings.
In Paaru, she played the role of daughter of former military officer Rankal Veerayya Deva, who gets married to Preetham, who hails from a rich family. Pavithra, who had acted in serials Raksha Bandhana, developed passion towards acting at a very young age by participating in cultural events.
Kannada actress Prathama Prasad is back in action. The actress, who has recovered from post-Covid-19 complications, is back with a bang. While she was recently seen in the new show 'Kanyakumari',


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Q: Azure Functions- Publish local.settings.json How Can I publish my Azure Function's local.settings.json?
{
  "IsEncrypted": false,
  "Values": {
    "AzureWebJobsStorage": "UseDevelopmentStorage=true",
    "FUNCTIONS_WORKER_RUNTIME": "dotnet",
    "CosmoDbAuthKey": "***********************************",
    "CosmoDbEndpoint": "https://**************************:443/",
    "CosmosDbId": "***Notifications"
  }
}

A: This answer is not condoning the practice of publishing the local.settings.json file, since it is intended to be used for local development and debugging only.  Others have already emphasized that, but they are apparently mistaken that there is "no way to publish".  There is indeed a method to publish it and it's specified in Microsoft's online docs:

By default, these settings are not migrated automatically when the project is published to Azure. Use the --publish-local-settings switch when you publish to make sure these settings are added to the function app in Azure. Note that values in ConnectionStrings are never published.

A: You cannot publish local.settings.json file to Azure. This file is for local development only.
To add settings for your deployed function:

*

*Go to https://portal.azure.com

*Navigate to your function app

*In the left hand side menu, look for Settings

*Select Configuration

*The default loaded tab should be Application Settings

*Select New application setting

*Add Name and Value. Name should be the same as your local.setting.json entry i.e. CosmosDbId. Value may change depending on your environment.

A: You cannot publish local.settings.json, what you need to do is to add them under the "Application settings" tab of the published function app in the Azure Portal


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Neil Young and Crazy Horse's Frank 'Poncho' Sampedro on New Live LP, Why He Left the Band
With the release of 1990 live set 'Way Down in the Rust Bucket,' the guitarist looks back at decades on the road with Young's iconic group
Paul Shaffer and the World's Most Dangerous Band to Sub for The Roots on 'Jimmy Fallon'
Pianist Alan Pasqua on His Years With Bob Dylan, Eddie Money, Pat Benatar, and Santana
View all posts by Andy Greene
"Let me go on record as saying that I think this 'Way Down in the Rust Bucket' is the best Crazy Horse record we ever recorded," guitarist Frank "Poncho" Sampedro (second from left) says of the group's new archival live set. Bob Galbraith/AP
When guitarist Frank "Poncho" Sampedro hit the road for the first time as a member of Neil Young and Crazy Horse in November 1975, one of his first gigs took place at the Catalyst in Santa Cruz, California. The nightclub is a short drive from Young's Broken Arrow ranch and it holds just about 800 people, making it a perfect spot for the group to try out new material in front of a friendly, hometown crowd, and they returned again in 1976, 1984, 1990, 1996, and 1997.
Details of the Seventies Catalyst gigs have been largely lost to time, while the later ones have only been heard via shoddy audience recordings. But a six-camera team along with a professional audio crew captured the November 13th, 1990 show from the Ragged Glory period. It was released a week ago on CD and DVD as Way Down in the Rust Bucket.
"Way Down in the Rust Bucket showcases a reconvened band that sounds newly motivated after increasingly sluggish and creaky shows in the Eighties," wrote Rolling Stone's David Browne in a review of the set. "They're not yet the smooth-galloping machine they would become on the full-blown tour, though. What we're hearing is the musicians feeling their way — for only the second time onstage — through the new material from the just-out Ragged Glory."
Sampedro retired from Crazy Horse following the 2014 leg of the group's Alchemy tour and has kept a low profile since then, but he called us from his home on the Big Island of Hawaii to look back at the Rust Bucket era and explain why he stepped away from the band after a 40-year run.
To put this Rust Bucket period in context, let's go back to the 1987 Crazy Horse Life tour. Neil talked about that period recently on his website as a weird time when tickets weren't really selling in some European markets and some shows even got canceled.
That's when we filmed [the documentary] Muddy Track. We were playing pretty good. We were incorporating some new stuff, more electronic kind of stuff. MIDI technology was available, and we had these different rigs on the stage we never had before. It was all kind of new.
I didn't know we weren't selling tickets. I know we played in a couple of tents, but they were really fun. If you really ask me, I thought the band was pretty healthy then. [Producer David] Briggs was with us and we had a good light to guide us. It was coming out of kind of a dark period. We didn't really run out of it. We kind of crawled out of it.
Yeah. The Bluenotes This Note's for You era started at the end of 1987. That band started with all three of you from Crazy Horse playing in it. After a short bit, you were the last one standing.
Well, first Billy [Talbot] went missing in action and then Ralph [Molina] went down. Ben Keith was playing with us then as part of Crazy Horse. I remember him coming to my room and being like, "Hey, it's only me and you, Poncho. We better step it up or we're going to be gone." [Laughs]
That led to the time where you played on Freedom with Neil with 1989, and Ralph Molina and Billy Talbot made a Crazy Horse album called Left for Dead, clearly implying there were some hurt feelings.
Well, I'd been left for dead myself at times. [Laughs] It's just one of Neil's changes. You can't take it too personally. You can't. Look at all the work we did after that. But you're skipping over some things. There were the Bluenotes and then we transitioned into the Lost Dogs and the Restless. And then Neil did a solo acoustic tour where Ben [Keith] and I traveled with him and we played in the middle of the show. And then Neil and I went to Europe where he played an acoustic show and I played in the middle of it.
Then we did Saturday Night Live without [drummer] Chad [Cromwell] and [bassist] Rick [Rosas]. Rick was super pissed about that. And we did it with Charley Drayton and Steve Jordan. SNL gave us a week at at the studio to rehearse. All we did was record.
Neil recently wrote that he wants to release those recordings as an album.
Yeah! That's where "Fuckin' Up" was first recorded. It was with Steve and Charley. It was fun. Steve was playing my guitar and I love to play drums. My son was drumming at that time, so we always had a drum set at home. I sat down behind his drums and he had this line figured out for "Fuckin' Up." I started playing the drums and we were getting into it.
Neil came in with his guitar and was like, "OK, everyone on their instruments." Steve said, "Let's try it like this." And so I play drums on "Fuckin' Up." One take. And then Neil said, "Let's get back to our instruments." Steve walked past me, lowered his sunglasses and was like, "You're doing pretty good, Poncho. Just lay off the toms a little." [Laughs]
We did another take, and I tell you, that's one of the joys of my life. I played drums on Steve Jordan's set with Neil and Charley and Steve. Wow! I always say to Neil, "Do you have a copy? I just want to hear it for myself."
How did Crazy Horse reassemble after that?
We went through all those periods and then we finally got back together with Billy and Ralph. I remember Neil and I talking about it and it seemed all good. We went in the studio to do this record [Ragged Glory] and we played about two days and then Briggs showed up with [engineer] John Hanlon. That's where the term "Spook the Horse" came from.
John Hanlon was a new guy and we didn't know him. He started running around behind our amps and looking at everything and checking out the front of the amps where the mics were placed and looking at this and that, and looking at the room mics. He was just everywhere and I ended up calling him "The Fly" because he was floating around everywhere.
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The next day, we went to play the songs and we just couldn't. Things we started the day before just fell apart. That's when Briggs said, "Well, you can't spook the horse."
The sound of Ragged Glory is very different than Life. It's stripped-down and you don't hear that Eighties production. It's more how you guys sounded in the Seventies.
Yes, it is. What happened is that once we got to know Hanlon and we started recording, Neil had these songs ready for Ragged Glory. We started playing them three times a day, every day, for a month, five days a week.
On the third or fourth day, Neil told me to call out the songs. I did that every day. Towards the end, I was like, "Why am I doing this? Am I doing good? Doing bad? I don't know." I was lost.
Neil said, "Go ahead, Poncho. Call them out." I said, "Man, why don't we just play some song that you played in your first band when you were starting out? Let's just play something different to be loose." He then started "Farmer John." We played it one time. And it made it on the record. The next time we played it was at the Catalyst. It wasn't quite as good, but we never played it before.
What's interesting is that you make Ragged Glory in early 1990. This is before Pearl Jam even exists and before most people have heard of Nirvana. It's still the era of Mötley Crüe and Poison. With Ragged Glory, you really made a grunge record before that was even a thing.
Yeah, man. We did. You know what? Let me go on record as saying that I think this Way Down in the Rust Bucket is the best Crazy Horse record we ever recorded. I love it! I love this record. Neil plays great, unbelievably great. He's just electrified. "Country Home" sounds like a country tune I never heard in my life. He just takes it to all kinds of different levels. He nails "Cortez." He nails "Danger Bird" and "Over and Over." He's just playing so good and the band played really good.
I hate when people say, "These were warm-up shows for the tour." We did two shows. Do they really think they were warming us up for a giant tour? That's more for us. It's giving back to the community. We played in Santa Cruz. It's really close to Neil's place. That's so most people could come to see us. Just standing in the parking lot, I wound up talking to about 100 people I know.
We'd go onstage and we played "T-Bone." We'd played that song at a birthday party for one of Pegi's friend and then we played it there. We never played it too many other places. It was just fun. We played "Homegrown," and at the end, people were throwing weed on the stage since it's a big weed-growing community. [Laughs] We were having fun.
It was all about the beginning of a new era. We were becoming alive. I just don't see it as a warm-up. It doesn't hit me like that. We played "Cortez" and it sounds so beautiful. When I hear Neil play it with other people, it just doesn't sound the same to me, ever.
Tell me a little more about why this Catalyst show happened.
Well, Briggs, our leader, said it was time for us to go out and play. We had to go play in front of people before we do a tour. That was why we did it. It was just to be out there and be aware that there's going to be a crowd. At the same time, it was a setup because it was all our friends and it's a home crowd. It felt really good.
We did "Surfer Joe and Moe the Sleaze." Briggs used to give us crap about that song. "You guys never put your heart into it. You have to dig deeper. You sound like you're noodling." [Laughs] He wanted it to be "Moe the Sleaze" and really dig into it. It came off more like a pleasure cruise. He thought maybe the audience would give us an edge.
You played the Catalyst a lot over the years. What's special about that room?
Where Neil lived at the ranch, there was one other place to play and it was a bar, the Mountain House. We played there [on November 12th, 1990], but you could only get like 50 people in there. We just played on the dining-room floor. There was no stage. There was no room for a PA. You might want to call it our home venue. Later on, after Princeton Landing [where Crazy Horse had a long residency in 1996], Neil didn't want to play bars anymore and the Warfield [in San Francisco] became our home venue. But playing at the Catalyst felt like playing at home. It felt like we were still at the ranch.
Do you remember them filming it?
No. Not at all. When they told me they had a six-camera video shoot, I was like, "Really?" I had no idea.
That's great. It means you were playing to the audience and not thinking about the cameras.
We always played to the audience. I'm watching the video now and Billy is having so much fun. I think I'm watching him more than anybody else.
You guys are obviously in a very relaxed, comfortable state. Do you think you maybe tried some of that weed that was thrown onto the stage?
[Laughs] Yes. I definitely think so. All our friends that were growers were there. You couldn't get into the building without smoking a joint. I remember someone saying to me, "Don't smoke that shit that guy gave you. This one will give you clarity, Poncho." [Laughs]
The tour started two months later. It was sort of a different vibe. You were in 20,000-seat arenas, the Gulf War had begun …
A strange thing happened to me just before that tour started. That tour began in January [1991]. On Christmas day [1990], I had an emergency appendectomy. My appendix was located somewhere up around my lungs. They couldn't find it. They had to take all my intestines out. I was really hurting. The first shows, man, I could barely walk up the stairs. We were playing big places and we had to deliver, but it took a minute for me to really get going.
Neil has said in the past that the tour was too long. You did 53 straight concerts without many breaks. That must have been taxing on all four of you.
We used to make jokes about it. They always told us that we'd never do more than three or four in a row. But when you added it up, it was more like 11 shows in 12 days. How do they do the math on that? I don't know. [Laughs]
The shows were still amazing. Weld and Arc are incredible documents. It's surely one of the best eras for the group, even if it was hard.
I thought it was pretty good too. Like I said, I was coming out of surgery. I went into it in a stupor. Maybe for that reason, I never recognized it as such a good record. But later on, as I talked to other people, they all told me that was it; that was the record. I started listening to it, and it was pretty good.
In the aftermath of this tour, there was suddenly a huge musical shift and grunge was everywhere. I'm not saying all those bands sounded like Crazy Horse or were even directly influenced by you, but did you feel that shift as it was happening?
Yeah. I felt that shift. I didn't think we had a lot to do with it. It always amused me when people said we were the "Godfathers of Grunge." When we started out, when I first started playing with Neil, we were a folk-rock band. [Laughs] It's all titles given to us by you, the writers. We didn't make any of those up. When I hear all that stuff, I'm like, "Oh, they're putting a twist on this." We don't focus on trying to do any of that. We're just being ourselves.
Neil has really ramped up his output of archival releases. He's doing one a month. What do you hope he releases in the near future?
That's a good question. I want to hear the stuff with Steve and Charley, the SNL stuff. And then I'd like to hear the live Alchemy record [from the 2012–14 Crazy Horse tour]. To hear the Rust Bucket and then that would really tie a lot together. You'd see a transformation of us over the years. I'd like to hear the differences. I've definitely learned how to play guitar better and was more in tune to what my role was on the Alchemy tour. But I don't know if that was good or bad. I'd like to hear it.
How about Toast, the 2001 record you guys cut and then shelved?
I like that record. It seems like we spent a lot of time there. I don't know. It felt like there was something wrong. Neil had trouble writing. We spent a lot of days watching him sit on the floor with a yellow pad. And then we'd play. I don't know. I'm sure there's good stuff there, but it was never … Briggs wasn't there. We just didn't have our compass. Something was different in those sessions. I don't know. I can't put my finger on it.
Oh, another thing that happened is that in the middle of the Toast sessions, we took off and went to South America [in January 2001]. We had a great time. We rocked hard down there. I'd like to hear that. The Rio show was good and Argentina was phenomenal. The people there were humming the melody of "Hurricane" while we were soloing. I remember Neil throwing his head up the sky and then just blowing solos. They were singing loud enough for us to hear [hums "Like a Hurricane"] like a soccer chant through the whole song. It was so uplifting.
Anyway, we came back from that and everything we played on Toast had a Latin feel. That was another twist that happened. And the next thing I know, we were out of Toast and I was recording with [bassist] Duck [Dunn] and Booker T. [on the Are You Passionate? sessions], which is another highlight of my musical history.
Right. It was the short-lived Poncho and the M.G.'s.
Yeah. One night, we were having dinner at the studio and I looked at Booker and I said, "Hey, man. I probably shouldn't do this, but I want to thank you for letting me in the band. That's really cool of you to let me be a part of the M.G.'s." Booker looked over at Duck and was like, "Hey, did you tell him about the band dues?" [Laughs]
Speaking of the Alchemy tour, I was just watching a video that Neil posted from that where you guys played "Like a Hurricane" in the pissing rain for over 30 minutes. It's amazing.
That song seems to make things rain. [Laughs] We had some crazy shows we played in the rain, but that's a really good one. Once things like start happening, you have to get your antennae up and be on alert for any crazy thing that could start happening onstage. Believe me, we had some crazy things happen. When all the power goes out, what do you do?
Fans are curious to know why you left the band. What happened?
Basically, I hate to say it because I'm too macho of a Spaniard, but I have arthritis in both of my wrists. Right now, today, if I had a new carton of milk and I had to screw off that little top, I can't do it. I have to get out the pliers.
It became painful for me to be on the road. When we were on that last tour [in 2014], I was rolling down the road with both of my hands in ice buckets and one foot in an ice bucket, every night. That's really not that much fun. Then I got my finger slammed in the door [on the 2013 European tour]. There were too many signs saying it was over for me. It wasn't for any other reason. I'd love to go on the road right now.
I was messing things up on the last tour during the early songs in the set. I just couldn't slide my fingers the way I used to when I played those lines. I was firing roadies because I thought they didn't have my guitar in tune. Looking back on it after I left the band, I was like, "Why was my guitar in tune for the rest of the show? How come from the fifth song song on, I had no problem and it was in tune?" That's because by that point, I had enough adrenaline going to overcome my arthritis.
Do you still play guitar at home?
Yeah. I have one right here. [Strums a note] I play all the time, but I don't think anyone wants to hear me make mistakes. When I play with my friends on the couch, we all make mistakes and just laugh it off. Nobody is paying $100 a pop to watch me screw up.
Since the end of the last tour, I have not left this island. I haven't even gone to Oahu. I'm very happy to stay home and be healthy. I think I have a great musical history. In my mind, I accomplished more than I ever dreamed of when I started out as a little kid in Detroit playing guitar. I'm happy with it. I'm very thankful to Billy, Neil, and Ralph. We all gave each other the opportunity to take music to a couple of different levels and make a lot of people happy. God bless all the fans that came out and enjoyed our music so much.
Find the album here
Neil Young,
Neil Young and Crazy Horse


text:
Günter Prebusch (* 10. August 1939) ist ein ehemaliger deutscher Fußballspieler, der von 1959 bis 1968 in der der DDR-Oberliga, der höchsten Spielklasse im DDR-Fußball, für Lokomotive Stendal aktiv war.

Sportliche Laufbahn
Bis 1957 spielte Günter Prebusch in Salzwedel in der fünftklassigen Bezirksklasse Magdeburg. Anschließend wechselte er zur Saison 1958 (Kalenderjahr-Spielzeit) zum Oberligaabsteiger BSG Lok Stendal, wo er in der zweitklassigen DDR-Liga mit 19 Punktspieleinsätzen zum sofortigen Wiederaufstieg beitrug. In der Oberligaspielzeit 1959 hatte er sofort mit seinen 26 Einsätzen in allen 26 Oberligaspielen als rechter Verteidiger einen Stammplatz inne. Die Stendaler schafften nicht den Klassenerhalt und pendelten weiter bis 1963 von Saison zu Saison regelmäßig zwischen Oberliga und DDR-Liga, sodass Prebusch für zwei Spielzeiten zweitklassig spielen musste. Erst von der Saison 1963/64 (Rückkehr zum Herbst-Frühjahr-Rhythmus seit 1961) an konnte sich die BSG Lok längerfristig in der Oberliga etablieren. 1966 erreichte die Mannschaft das Endspiel um den DDR-Fußballpokal. Im Finale gegen die BSG Chemie Leipzig, das die Stendaler mit 0:1 verloren, war Prebusch auf seiner nunmehrigen Stammposition als Linksverteidiger eingesetzt worden. Bis 1968 blieb er Stammspieler der BSG Lok, es war sein letztes Oberligajahr. Nach der Saison 1967/68 musste Lok Stendal aus der höchsten Spielklasse absteigen und schaffte auch 1968/69 nicht die Rückkehr in die Oberliga. In der DDR-Liga-Saison 1968/69 wurde Prebusch nur noch in elf Punktspielen eingesetzt, danach beendete er seine Laufbahn im höherklassigen Fußball. Bis 1971 war er als Spielertrainer beim drittklassigen Bezirksligisten Motor Rathenow aktiv.

Literatur
 Deutsches Sportecho: Jahrgänge 1958–1971.
 Hanns Leske: Enzyklopädie des DDR-Fußballs. Verlag Die Werkstatt, Göttingen 2007, ISBN 978-3-89533-556-3, S. 369.
 Andreas Baingo, Michael Horn: Die Geschichte der DDR-Oberliga. 2. Auflage. Verlag Die Werkstatt, Göttingen 2004, ISBN 3-89533-428-6, S. 342.

Weblinks

 Steckbrief bei weltfussball.de

Fußballspieler (DDR)
Deutscher
DDR-Bürger
Geboren 1939
Mann


Mandore is situated five miles from Jodhpur. It was the former capital of Maharajas of Marwar who later moved to Mehrangarh Fort for better security.
Sightseeing includes the now ruined Mandore Fort, and the cenotaphs of the erstwhile rulers. Here the cenotaphs are different in that they are not shaped like the chattris found more frequently but are like a Hindu temple. The most impressive among these is the Cenotaph of Maharaja Ajit Singh who was the ruler from 1678 to1724. Each cenotaph is set in a beautifully landscaped garden, hence 'Mandore Gardens'. The cenotaphs of Maharanis are set over on a rocky hill and these are also set amidst lush gardens.
The Hall of Heroes has statutes of deities and Rajput heroes carved out of rock and painted in brilliant colours. Also visit The Shrine of the Three Hundred Million Gods that has images of various Hindu gods. Mandore is quite popular with the tourists for its greenery and ancient ruins.


I seem to be killing batteries in my 7. I can only get about two year out of them. I don't put them on a charger and fly regularly. I haven't searched the forum but will shortly.
Avionics Maint. Shop in SoCal?
I'll second Jeff at High Desert!
area. Let me know if I can help??
Did you find anybody to help you in LA area? I might be able to help? RV 7 builder, A&P, DAR-F.
I saw your plane land last time we stopped in, beautiful!
Wondering if anybody has some hangar space for 26-30 July? Hate leaving the 7 outside.
Did you ever get that ride? I'm based out of Mojave with a 7 and would be glad to help.
I hate to ask but what can I expect to pay for a DAR?
Mojave is lowering their gas prices $.50/gal to help support the event. I'll have the RV 7 out and also get to drag out Ares to support. Weather looks good!


text:
Las carracas eran navíos de vela redonda de alto bordo especializados en el transporte de grandes cargas en travesías largas. Hubo carracas desde el  hasta el . Fueron los mayores buques europeos de su época.

Eran muy apreciadas por portugueses, venecianos y genoveses y menos utilizadas por castellanos y aragoneses. En los astilleros del mar Cantábrico se construyeron muy pocas carracas, por su mal comportamiento en los temporales.

Orígenes
Construido por los portugueses en el  durante sus exploraciones, la configuración básica de la carraca constaba de un casco con calado considerable, un mástil y una enorme vela rectangular. Con el paso del tiempo fue incorporando adelantos significativos; el principal de ellos fue la incorporación de timón de codaste como reemplazo de los timones de espadilla.

Su tamaño y calado le daban prestaciones muy importantes y apreciadas:
 Carga: en su tiempo fue el mayor buque de carga disponible, siendo ésta muy diversa. También se le empleó como transporte de tropas, incluso caballería.
 Resistencia: Las carracas fueron barcos muy sólidos y fiables (aunque tenían mal comportamiento en las tormentas), y conforme iban incorporando adelantos técnicos fueron capaces de realizar travesías más largas.

La principal desventaja de las carracas era su pobre maniobrabilidad y su lentitud, deficiencias que fueron mejorándose con los adelantos técnicos que iban surgiendo.

Otro aspecto importante de las carracas era que, al tener un calado significativo, solo podían hacer operaciones de carga y descarga en puertos de altura, ya sea que fueran marítimos o fluviales, o bien estando ancladas a distancia. Su capacidad de maniobra en puertos de cabotaje era muy limitada.

Otro inconveniente de este tipo de embarcaciones era el elevado costo de construcción, sobre todo considerando que durante la Edad Media los estados nacionales europeos eran esencialmente nominales; en realidad, Europa estaba fragmentada en territorios feudales y ciudades estado, de los cuales solo unos pocos tenían los medios para financiar la construcción de carracas. Este aspecto es significativo desde el punto de vista histórico, ya que en términos navales, la carraca, como buque de guerra, era muy superior al drakkar vikingo. Sin embargo, la falta de flotas defensivas en Europa, especialmente en Francia e Inglaterra, permitió a los vikingos llevar a cabo invasiones con éxito en estos reinos.

Características
El casco tenía un castillo de proa que, a diferencia de la coca, no era una estructura superpuesta al casco, sino que formaba parte de él integrándose perfectamente y que no sobresalía por los costados. Tenía mayor altura que los castillos anteriores y, en muchas ocasiones, podían colocarse varios puentes superpuestos. La misma estructura era aplicada al alcázar de popa compuesto de dos o más puentes llamados alcazarillos, englobados en la estructura de la nave, donde se instalaron inicialmente los cañones. Las carracas tenían un casco ligeramente más redondeado que las cocas e incorporaron por primera vez los tres palos. El trinquete y el mayor con velas cuadradas (inicialmente una cada palo) y el mesana una vela triangular. En las carracas más evolucionadas se añadió un cuarto palo a popa llamado contramesana con velas latinas. A medida que transcurrieron los años el velamen se complicó añadiendo nuevas velas cuadradas a los dos primeros palos. Esta estructura vélica dificultaba la navegación con viento de bolina pero facilitaba la de viento de través y de popa.

Casco
La relación eslora/manga era aproximadamente 3. Llevaban castillo de proa, bastante alto, y castillo de popa de grandes dimensiones. La cubierta tenía castillo, combés y toldilla, llevando en el combés una gran escotilla de carga.

El casco solía estar reforzado por grandes cintones y bulárcamas.

Desplazamiento
En el  tenían entre 200 y 600 toneladas. A finales del XVI las hubo de hasta 2000 toneladas.

Aparejo y arboladura
Las primeras carracas eran de un solo palo. Fueron evolucionando, y a finales del XVI llevaban 3 palos, habiendo algunas de 4. Los palos tenían masteleros y llevaban cofas para situar a los arqueros.

El palo mayor era mucho más grande que el trinquete, que a su vez también era mucho mayor que el mesana.

En el , el velamen de las carracas solía ser:
 Cebadera cuadra en el bauprés.
 Velas cuadras para trinquete y velacho.
 Velas cuadras para mayor y gavia.
 Vela latina para el mesana, y latina o cuadra para sobremesana. Y, a veces, una latina en contramesana.

Transformación y evolución
El descubrimiento de América y la consolidación de estados nacionales en Europa (Portugal, España, Holanda, Francia e Inglaterra) conllevó que de sus arcas, destinaran fondos para la construcción de sus flotas y poder explorar el Nuevo mundo.

A diferencia de las carabelas, que fueron quedando en desuso, las naos y carracas sufrieron mayores mejoras y transformaciones, hasta convertirse en un nuevo tipo de embarcación, conocido como galeón, del que se dieron distintas variantes, como el galeón español y el galeón inglés.

Carracas notables
 La carraca La Charente de Luis XII de Francia llevaba 1200 hombres de guerra y 300 piezas de artillería.
 En la Jornada de Túnez apoyó a Carlos V, entre otras, la carraca portuguesa S. Juan Botafogo, la mayor de ese tiempo, con 200 cañones.
 En la segunda expedición a Italia del Gran Capitán, participaron 3 o 4 carracas junto a las naos vizcaínas.

Diferencia con las naos

A veces se llamó naos a las carracas, o a cualquier buque, utilizando la expresión nao en su sentido general de navío o buque. Pero las naos eran también un tipo específico de buque.

Aunque el casco era muy parecido de formas, el de las carracas estaba reforzado con cintones y bularcamas exteriores de madera; el de las naos no.

Los castillos de proa y popa eran más grandes en las carracas que en las naos.

Las naos solo llevaban una vela latina en el mesana, y solo llevaban cofas en trinquete y mayor. El tamaño de los tres palos de las naos no era tan diferente como en las carracas.

El tonelaje de las naos variaba entre 100 y 500 toneladas. Las más pequeñas eran naos de exploración, y las mayores, de carga o guerra.

Desarrollo
Hacia fines de la Edad Media, en especial a partir del , las carracas y naos ya habían incorporado más mástiles, más velamen, incluyendo velas latinas, que aunado a su resistencia y capacidad de carga las convirtieron en el caballo de batalla de las rutas marítimas de comercio, sirviendo desde Islandia en el norte, las Azores en el oeste y las costas africanas, incluso el Océano Índico en el sur. Se puede afirmar que en este punto, Europa en su conjunto había logrado la supremacía mundial en construcción naval.

Véase también
 Nuestra Señora de Encarnación

Bibliografía
 Enciclopedia General del Mar. Ediciones Garriga, Barcelona, 1957
 Varios, El Buque en la Armada Española, ISBN 84-85041-50-X

Enlaces externos
 La nao Santa María
 La Armada de Vizcaya
 Transportes entre el siglo XIII y el XV
 Aznar Vallejo, Eduardo: "Marinos vascos en la guerra naval de Andalucía durante el siglo XV"

Embarcaciones de vela


Automated Home Valuation Systems are wonderful starting points for monitoring and getting a feel for home values, however they are not a substitute for a market analysis. I am providing this AVM for your use, I hope it's helpful in getting a general idea and feel for the value of your home. Please do not consider the value generated by any AVM to be the last word in the value of your home.
The following are explanations of a few of the methods that are often used as benchmarks for valuations of real estate. All of which have a place, but none are the final word.
Automated Valuation Models (AVMs): There are a number of AVMs available to consumers. An AVM is a method of determining the value of a property based on an algorithm (mathematical system). The value determined by an AVM is only as good as the data used by the algorithm and the methodology used when creating the algorithm. AVMs typically don't take into consideration non-tangible variations in neighborhood, features of floor plans, updates and amenities, need for updates, and other positive or negative influences which can affect value to a potential buyer. AVMs cannot account for differences in your property or the comparable properties that are not apparent through the data sets utilized.
Comparable Market Analysis: This is the methodology used by your real estate broker to help you establish a list and anticipated sale price for your property, prior to listing your property for sale or if you are structuring an offer price for a property you want to buy. Your broker should have a good sense of what has happened in the past and what is happening right now and have a "feet on the ground" sense of what appeals to buyers in today's market, what challenges you can anticipate with the appraisal process and what current lending standards are in place. Your real estate broker should also be aware of the finer details of many of the properties used as comparables, as they have visited many, if not all of them and know the differences in neighborhoods and other nearby influences.
Appraisal: An appraisal is typically used by a lender in a transaction to support the agreed price. The purpose is to assure the lender that the collateral (security) is sufficient to support the loan request. This report is prepared by a professional hired through a third party (current regulations require that there must be separation of the lender from the appraisal process). Appraisers have a good sense of neighborhood and differences in amenities, even though they have not had the opportunity to inspect every property included as comparables in appraisal.


Dear Friends and Supporters, Alaska's current fiscal and environmental challenges present a moment of opportunity for the creative people of the North. Success in the decades and centuries ahead will be measured by our ability to adapt to these challenges. We must find ways to diversify and develop sustainable economies, build responsibly– whether we are part of a rural community or live in urban Alaska–and define how we'll live so our children's children can thrive in this beautiful land. Adapting to environmental change is something Alaskans have been doing for a very long time. Europeans and others that came during the great gold rushes adjusted to dramatic change as resources diminished. Those who were committed stayed and thrived. The first people looking for a new life thousands of years ago saw in this harsh climate and spectacular landscape a place that could provide for their families and the generations that followed. That kind of courage is an inspiration. Your CCHRC family is part of finding ways to adapt. Each of us is deeply committed to a healthy future for the "Great Land" and those who call this place home. In this year's annual report, you'll read about the technologies we're using at CCHRC to move beyond fossil fuels, alternative energy systems that are helping Alaskans save money, and creative solutions for bringing safe water and sewer into a place like Kivalina. The Holistic Pilot Project in Oscarville is an example of how working together across agencies and disciplines, led by community leadership, can make remarkable progress. Progress that is leading to a sustainable community where quality of life is enriched, physical needs are met, and rich traditions are honored.


text:
Q: Object must implement IConvertible (InvalidCastException) while casting to interface I'm trying to cast an object of a certain type to an interface it implements using Convert.ChangeType(), however an InvalidCastException gets thrown because the object must implement IConvertible.
The types:
public IDocumentSet : IQueryable {}

public IDocumentSet<TDocument> : IDocumentSet, IQueryable<TDocument> {}

public XmlDocumentSet<TDocument> : IDocumentSet<TDocument> {}

Excerpt from code where the error happens:
private readonly ConcurrentDictionary<Type, IDocumentSet> _openDocumentSets = new ConcurrentDictionary<Type, IDocumentSet>();

public void Commit()
{
    if (_isDisposed)
        throw new ObjectDisposedException(nameof(IDocumentStore));

    if (!_openDocumentSets.Any())
        return;

    foreach (var openDocumentSet in _openDocumentSets)
    {
        var documentType    = openDocumentSet.Key;
        var documentSet     = openDocumentSet.Value;

        var fileName        = GetDocumentSetFileName(documentType);
        var documentSetPath = Path.Combine(FolderPath, fileName);

        using (var stream = new FileStream(documentSetPath, FileMode.Create, FileAccess.Write))
        using (var writer = new StreamWriter(stream))
        {
            var documentSetType     = typeof (IDocumentSet<>).MakeGenericType(documentType);
            var writeMethod         = typeof (FileSystemDocumentStoreBase)
                                        .GetMethod(nameof(WriteDocumentSet), BindingFlags.Instance | BindingFlags.NonPublic)
                                        .MakeGenericMethod(documentSetType);
            var genericDocumentSet  = Convert.ChangeType(documentSet, documentSetType); <-------

            writeMethod.Invoke(this, new[] {writer, genericDocumentSet});
        }
    }
}

Now, I'm failing to understand why exactly this happens (as XmlDocumentSet is not a value type) and XmlDocumentSet<'1> implements IDocumentSet<'1>. Am I missing something? Or is there an easier way to achieve what I'm doing?

A: The IConvertible interface is designed to allow a class to safely convert itself to another Type. The Convert.ChangeType call uses that interface to safely convert one type to another.
If you do not know the Types at compile time then you will be forced to attempt a runtime cast. This is discussed in a very similar question here Convert variable to type only known at run-time?.

A: Implementing IConvertible is a lot of pain for such legitimate scenarios, and in my opinion waste of precious development time. Best is to implement an abstract method in the base class, which your derived class will implement to return itself. below is the example.
//implement this in base class
        protected abstract BaseDocumentTypeMap<ID> ConvertDocType(T doc);

//usage of the abstract code
            BaseDocumentTypeMap<ID> beDocType;

                //loop through all the document types and check if they are enabled
                foreach(T doc in result)
                {
                    beDocType = ConvertDocType(doc);
                    //some action
                }

//implement this in the derived class
        protected override BaseDocumentTypeMap<int> ConvertDocType(DocumentTypeMap doc)
        {
            return doc;
        }

This work perfectly and without a need of painful IConvertible. in the above example the base class is implementing an interface with <ID, T> and derived class has a reference to the DocumentTypeMap class, and DocumentTypeMap class is implementing the interface with <ID>


This page helps answer: how do I use the word sided in a sentence? How do you use sided in a sentence? Can you give me a sentence for the word sided?
Example sentences with the word sided, a sentence example for sided, and sided in sample sentence.


SYDNEY (Reuters) – Investors ditched shares on Monday and fled to the safety of bonds while the Japanese yen hovered near a six-week high as risk assets fell out of favour on growing fears about a U.S. recession, sending global yields plunging.
U.S. 10-year treasury yields were last 1.9 basis points below three-month rates after yields inverted for the first time since 2007 on Friday. Historically, an inverted yield curve – where long-term rates fall below short-term – has signalled an upcoming recession.


False Pass sits on the East Side of Unimak Island in Alaska's Aleutian chain. Trident Seafoods, Peter Pan and Silver Bay support the fleets with processing facilities there.
News of the fire may bring back memories of Peter Pan's Port Moller facility's being lost to a catastrophic fire in August 2017.
That fire brought the summer salmon season to an early end for the local fleet.
The cause of the fire is under investigation and unknown at this time.