text:
Q: How do you export a 3d model from Cinema4D to three.js? If I have a mesh modeled in Cinema 4D, how can I export it for the three.js 3D JS Engine ?
Also, it would be handy to export material colors for polygon selections.

A: Just wrote another python script for Cinema4D for this.
You can find details on the disturb media blog and wiki.

For reference, I'm listing the source here too:
'''
author : "George Profenza"
url    : ("disturb", "disturbmedia.com/blog","My blog, http://tomaterial.blogspot.com")

Export meshes the three.js 3D Engine by mr.doob's et al.

More details on the engine here:
https://github.com/mrdoob/three.js

Currently supports UVs. If the model doesn't display correctly
you might need to reverse some normals/do some cleanup.
Also, if you use Selection Tags and basic ColorMaterials,
the colours will be picked up as face colors. Call autoColor() on the
model you use for this.
The mesh transformations(position, rotation, scale) are saved
and you can get them using: getPosition(), getRotation() and getScale()
each returning a THREE.Vector3

In short
var myGeom = new myC4DGeom();
var myModel = new THREE.Mesh( myGeom, new THREE.MeshFaceMaterial());
//set transforms
model.position = myGeom.getPosition()
model.rotation = myGeom.getRotation()
model.scale    = myGeom.getScale()
//set selection tags colours
myGeom.autoColor()

More details on this exporter and more js examples here:
https://github.com/orgicus/three.js

Have fun!

This script requires Cinema 4D R11.5 minimum and the Py4D Plugin:
http://www.py4d.com/get-py4d/
'''

import c4d
from c4d import documents,UVWTag,storage
from c4d.utils import *
from c4d import symbols as sy, plugins, utils, bitmaps, gui
import math
import re

# utils
clean = lambda varStr: re.sub('\W|^(?=\d)','_', varStr)
# from Active State's Python recipies: http://code.activestate.com/recipes/266466-html-colors-tofrom-rgb-tuples/
def RGBToHTMLColor(rgb_tuple):
    return '0x%02x%02x%02x' % rgb_tuple
def Export():
    if not op: return
    if op.GetType() != 5100:
            print 'Selected Object is not an editable mesh'
            return
    unit = 0.001#for scale
    fps   = doc.GetFps()
    bd = doc.GetRenderBaseDraw()
    scr = bd.GetFrameScreen()
    rd = doc.GetActiveRenderData()
    name  = op.GetName()
    classname = clean(name)

    c4dPath = c4d.storage.GeGetC4DPath(sy.C4D_PATH_LIBRARY)
    jsFile = open(c4dPath+'/scripts/Three.js','r')
    js = jsFile.read()
    htmlFile = open(c4dPath+'/scripts/template.html','r')
    html = htmlFile.read()
    html = html.replace('%s',classname)
    code  = 'var %s = function () {\n\n\tvar scope = this;\n\n\tTHREE.Geometry.call(this);\n\n' % classname

    def GetMesh(code):
        # goto 0
        doc.SetTime(c4d.BaseTime(0, fps))
        c4d.DrawViews( c4d.DA_ONLY_ACTIVE_VIEW|c4d.DA_NO_THREAD|c4d.DA_NO_REDUCTION|c4d.DA_STATICBREAK )
        c4d.GeSyncMessage(c4d.EVMSG_TIMECHANGED)
        doc.SetTime(doc.GetTime())
        c4d.EventAdd(c4d.EVENT_ANIMATE)
        SendModelingCommand(command = MCOMMAND_REVERSENORMALS, list = [op], mode = MODIFY_ALL, bc = c4d.BaseContainer(), doc = doc)

        verts = op.GetPointAll()
        for v in verts:
            code += '\tv( %.6f, %.6f, %.6f );\n' % (v.x, -v.y, v.z)
        code += '\n'
        ncount = 0
        uvcount = 0
        faces = op.GetAllPolygons()
        normals = op.CreatePhongNormals()
        ndirection = 1
        hasUV = False
        for tag in op.GetTags():
            if tag.GetName() == "UVW":
                uvw = tag
                hasUV = True
        for f in faces:
            if(f.d == f.c):
                if(normals):
                    code += '\tf3( %d, %d, %d, %.6f, %.6f, %.6f );\n' % (f.a, f.b, f.c, normals[ncount].x*ndirection, normals[ncount].y*ndirection, normals[ncount].z*ndirection)
                else:
                    code += '\tf3( %d, %d, %d );\n' % (f.a, f.b, f.c)
            else:
                if(normals):
                    code += '\tf4( %d, %d, %d, %d, %.6f, %.6f, %.6f );\n' % (f.a, f.b, f.c, f.d, normals[ncount].x*ndirection, normals[ncount].y*ndirection, normals[ncount].z*ndirection)
                else:
                    code += '\tf4( %d, %d, %d, %d );\n' % (f.a, f.b, f.c, f.d)
            if hasUV:
                uv = uvw.Get(uvcount);
                # uvs  += '[Vector('+str(uv[0].x)+','+str(1.0-uv[0].y)+'),Vector('+str(uv[1].x)+','+str(1.0-uv[1].y)+'),Vector('+str(uv[2].x)+','+str(1.0-uv[2].y)+')],'
                if len(uv) == 4:
                    code += '\tuv( %.6f, %.6f, %.6f, %.6f, %.6f, %.6f, %.6f, %.6f);\n' % (uv[0].x, uv[0].y, uv[1].x, uv[1].y, uv[2].x, uv[2].y, uv[3].x, uv[3].y)
                else:
                    code += '\tuv( %.6f, %.6f, %.6f, %.6f, %.6f, %.6f);\n' % (uv[0].x, uv[0].y, uv[1].x, uv[1].y, uv[2].x, uv[2].y)
                ncount += 1
                uvcount += 1

        #selection color
        code +='\n\tscope.colors = {};\n'
        code +='\tscope.selections = {};\n'
        selName = ''
        for tag in op.GetTags():
            if(tag.GetType() == 5616): #texture tag
               material = tag.GetMaterial()
               color = material[sy.MATERIAL_COLOR_COLOR]
               tag.SetBit(c4d.BIT_ACTIVE)
               selName = clean(tag[sy.TEXTURETAG_RESTRICTION])
               if len(selName) == 0:    print "*** WARNING! *** Missing selection name for material: " + material.GetName()
               code += '\tscope.colors["'+selName+'"] = '+str(RGBToHTMLColor((color.x*255,color.y*255,color.z*255)))+';\n'
            if tag.GetType() == 5673:  #selection tag
               # print 'selection: ' + tag.GetName()
               sel = tag.GetSelection()
               selName = clean(tag.GetName())
               ids = sel.GetAll(op.GetPointCount())
               indices = [i for i, e in enumerate(ids) if e != 0]
               code += '\tscope.selections["'+selName+'"] = '+str(indices)+';\n'

        code += '\n\tscope.autoColor = function(){\n'
        code += '\t\tfor(var s in this.selections){\n'
        code += '\t\t\tfor(var i = 0 ; i < this.selections[s].length; i++) this.faces[this.selections[s][i]].material = [ new THREE.MeshColorFillMaterial( this.colors[s],1) ];\n'
        code += '\t\t}\n\t}\n'

        # model position, rotation, scale               rotation x,y,z = H,P,B => three.js x,y,z is P,H,B => y,x,z
        p = op.GetPos()
        r = op.GetRot()
        s = op.GetScale()
        code += '\n\tscope.getPosition = function(){\treturn new THREE.Vector3'+str((p.x,p.y,p.z))+';\t}\n'
        code += '\n\tscope.getRotation = function(){\treturn new THREE.Vector3'+str((r.y,r.x,r.z))+';\t}\n'
        code += '\n\tscope.getScale = function(){\treturn new THREE.Vector3'+str((s.x,s.y,s.z))+';\t}\n'

        code += '\n'
        code += '\tfunction v( x, y, z ) {\n\n'
        code += '\t\tscope.vertices.push( new THREE.Vertex( new THREE.Vector3( x, y, z ) ) );\n\n'
        code += '\t}\n\n'
        code += '\tfunction f3( a, b, c, nx, ny, nz ) {\n\n'
        code += '\t\tscope.faces.push( new THREE.Face3( a, b, c, nx && ny && nz ? new THREE.Vector3( nx, ny, nz ) : null ) );\n\n'
        code += '\t}\n\n'
        code += '\tfunction f4( a, b, c, d, nx, ny, nz ) {\n\n'
        code += '\t\tscope.faces.push( new THREE.Face4( a, b, c, d, nx && ny && nz ? new THREE.Vector3( nx, ny, nz ) : null ) );\n\n'
        code += '\t}\n\n'
        code += '\tfunction uv( u1, v1, u2, v2, u3, v3, u4, v4 ) {\n\n'
        code += '\t\tvar uv = [];\n'
        code += '\t\tuv.push( new THREE.UV( u1, v1 ) );\n'
        code += '\t\tuv.push( new THREE.UV( u2, v2 ) );\n'
        code += '\t\tuv.push( new THREE.UV( u3, v3 ) );\n'
        code += '\t\tif ( u4 && v4 ) uv.push( new THREE.UV( u4, v4 ) );\n'
        code += '\t\tscope.uvs.push( uv );\n'
        code += '\t}\n\n'
        code += '}\n\n'
        code += '%s.prototype = new THREE.Geometry();\n' % classname
        code += '%s.prototype.constructor = %s;' % (classname, classname)

        SendModelingCommand(command = MCOMMAND_REVERSENORMALS, list = [op], mode = MODIFY_ALL, bc = c4d.BaseContainer(), doc = doc)

        return code

    code = GetMesh(code)
    docPath = doc.GetDocumentPath()
    jspath = docPath+'/'+classname+'.js'
    htmlpath = docPath+'/'+classname+'.html'
    file = open(jspath,'w')
    file.write(code)
    file.close()
    file = open(htmlpath,'w')
    file.write(html)
    file.close()
    file = open(docPath+'/Three.js','w')
    file.write(js)
    file.close()
    print 'Export Complete!'

Export()

Also, added 'slim' exporters to the repository which should produce smaller .js files
for the models

A: Another option is to export as COLLADA/DAE or OBJ and use COLLADALoader or OBJLoader.

A: Alirght, going to Try this here:
This plugin does not work with C4D R12. Since Maxon absorbed Py4D, they made a choice to absorb the symbols object into the c4d object. I forked your code and poked around a bit to try and fix the minute differences between 11.5's Py4D and R12.
Anyways, here's the plugin cafe post you made where I commented a bit more regarding the issues. Thanks again for paving the way for awesomeness!

A: If you get an object attribute error, you need to exchange the GetPos call with GetAbsPos in the three.js exporter script (c4d13+).

redpajama_set_name: RedPajamaStackExchange


loft sleeping quarters. In the highest spot are two comfy feather lined nests for a couple little mice to go to sleep in. A candle for reading, and cup of cocoa before bed.
The kitchen. The ladder goes up to the sleeping loft. Some found thread spools make beautiful chairs. A cozy fireplace and a mushroom shelf. A piece of quarts and some wood make the table. Another cozy fireplace for cooking.


In this article, we are going to be talking about money that you can make on YouTube. It's good to track your earnings on YouTube even if you only make a quarter a month. All that matters at the end of the day is that you're making money doing something that you love. Now when it comes to making money on YouTube there are two terms you have probably heard before – CPM and RPM. Before understanding how to calculate YouTube earnings, you might want to know the difference between CPM and RPM. Your YouTube earnings are generated by ads that are placed on your videos. CPM and RPM describe how much it cost a company to run ads versus how much money you actually make from these ads.
While the process of calculation of your earnings from YouTube needs a little bit of digging, there is a calculator that makes things really simple for you. If you are a YouTuber or you aspire to be one, this tool is a must-have for you. It lets you calculate the earnings for your YouTube videos and you can use it to figure out how much money you actually make from your YouTube channel. This tool is loaded with features that let you calculate your potential earnings based on your video views and your CTR rate. The best thing about this tool is that it is free to use.
Whether you are a budding YouTuber or you have established yourself in the field of YouTube, this tool is useful for you in both the cases. From tracking your video performance in terms of monetary gain to knowing the overall potential of the videos on your channel, this tool lets you do all that and more. Another feature of this tool that makes it stand out is that you get to calculate the estimated total earnings by your channel. All in all, this tool is one of the best tools that you can have in your journey as a YouTube video creator.
Step 1: Drag the YouTube View Count slider left or right in accordance with your daily video views.
Step 2: Set your Estimated CTR taking into account your channel's previous performance.
Step 3: Track the estimated daily, weekly and yearly earnings from your videos.
These were the steps that you need to follow to make the best use of this calculator. This is one of the best tools to make use of as a YouTuber to keep track of your videos' earning potential.


Nurses working together in the Emergency Department at KGH.
At Kingston General Hospital, our employees, physicians, learners and volunteers are all dedicated to serving the needs of our community and the more than 500,000 residents of southeastern Ontario. Our aim is to provide Outstanding care, always to every patient and to help us deliver it, we are always striving to attract dynamic and dedicated people to join our team.
These are exciting times to consider joining our hospital. Over the past few years, our work in pioneering Patient- and Family-Centred Care has been attracting attention, inspiring others, and winning us awards across the country and around the world. Our focus on making our hospital a great place to work has also won us accolades from the Ontario Hospital Association, the City of Kingston, and the prestigious Canada's Passion Capitalist Award.
As an academic and teaching hospital, we are also researching promising new treatments for patients around the world and best practices for health care providers while training the next generation of health care providers.
To support all of this important work, we are focused on connecting community, building a strong and healthy workplace and hiring the best people.
Of course, employees aren't the only one's helping our patients and their families. Here at KGH, we also rely on the hundreds of people who volunteer their time and talents each week at our hospital.
Members of our KGH Auxiliary also make a huge contribution by raising funds through such services as the their Auxiliary Cafe, Tuck Shop. Lottery Booth and Gift Shop.


text:
A brief history of Inaura
What does 'Inaura' mean?
About the origin of our logo and name
In+aura - our name means 'radiance piercing the darkness within' (a metaphor for learning).
Birds cannot fly yoked together - the geese in our logo are a sign of our commitment to an ethic of voluntary co-operation.
The Inaura charity was founded in 2002 with a clear objective - to make school exclusion redundant as a management tool.
The strategy we adopted to achieve this was based on research carried out in New Zealand, the USA, and Canada. We called it community-based inclusion. We were able to set up high level meetings with the Improving Behaviour and Attendance Team at the Department of Education to share the outcome of our department-funded action research projects in Slough and Sutton, as well as data gathered by Professor Carl Parsons, who is one of Inaura's founding trustees.
In 2003 we suggested to the Department that managed moves were an effective alternative to exclusion as a management tool. Since 2004, when the Department began to recommend managed moves, exclusion rates fell steadily until 2012.
Meanwhile, as a charity, 11 of our first 12 grant applications were successful. However, we recognised that an enduring charity must have revenue (regular) funding and for us this meant providing services to the education community. Our project in Somerset provided educational support for children as a 'last resort'; children for whom the next step was residential schooling.
In 2007 we established an independent special in Somerset, based on non-coercive principles. Using our relational approach we developed a school model within which we did not attempt to coerce children into learning, and we replaced behavioural sanctions with a restorative approach.
Inaura school continues to grow in student numbers and in the quality of its programmes. It now has a therapeutic team, a social and pastoral care team, a teaching and learning team, a forest school centre, arts workshops and farm and animal care programmes.
In 2017 the charity and the school decided to become two separate organisations, so that the school could form a Governing body solely engaged in school governance, and the charitable activities of the national organisation promoting children's well being and good mental health could continue, in particular by applying a non-coercive ethos and developing education communities.
We are an unregistered charity because what we do is voluntary and unpaid. We are not able to register because our income has not reached the threshold. Unregistered charities are recognised in law and by HMRC. Our constitution is compliant with charity law.
Inaura projects ltd is a charitable organisation applying for charity registration.
Our company details can be found in the companies house register link
Copyright © 2020 Inaura Projects Ltd | All Right Reserved

redpajama_set_name: RedPajamaCommonCrawl


text:
The Enhanced Scope of the 31D Statutory Licence for Broadcasters
On the applicability of Section 31D to Internet broadcasters:
The scope of Section 31D of the Copyright Act, 1957, which allows broadcasters to obtain statutory licences to communicate content (in the form of literary and musical works) to the public has steadily broadened. In its early avatars, seen in the bills which proposed what ultimately became the 2012 amendment to the Copyright Act, 1957, there were times when only radio broadcasters would have been able to obtain the licences contemplated by the then-proposed Section. However, by the time the amendment act was actually passed, the words of Section 31D had changed, and there was no doubt that both television and radio broadcasters could avail of the statutory licences contemplated by the provision.
Section 31D was roughly divided into two different parts with the former, articulated in its first sub-clause, capable of being considered a substantive provision, and the latter, comprising seven sub-clauses, amenable to being considered the procedural provisions intended to support the realisation of the former.
The first sub-clause simply did not limit the kinds of broadcasting organisations which could potentially obtain statutory licences under Section 31D. It stated:
(1) Any broadcasting organisation desirous of communicating to the public by way of a broadcast or by way of performance of a literary or musical work and sound recording which has already been published may do so subject to the provisions of this section.
It was only in the procedural part of Section 31D that one sub-clause mentioned television and radio broadcasters alone, and arguably conveyed the impression that Section 31D was intended to benefit only those two kinds of broadcasters by stating:
(3) The rates of royalty for radio broadcasting shall be different from television broadcasting and the copyright Board shall fix separate rates for radio broadcasting and television broadcasting.
Apart from Section 31D(3), however, which has, in any case, only been a supporting procedural provision, none of the clauses of Section 31D have limited the range of broadcasters which could potentially obtain 31D statutory licences. Taking this into consideration, along with the definition of communication to the public in Section 2(ff) of the Copyright Act, 1957, and stakeholder representations, in September 2016, the Copyright Section of the Department of Industrial Policy and Promotion issued an office memorandum in which it explicitly clarified that the online broadcasters were included within the meaning of 'broadcasting organisations' in Section 31D(1). In relevant part, the memorandum read:
3. In view of the above, the words "any broadcasting organization desirous of communicating to the public..." may not be restrictively interpreted to be covering only radio and TV broadcasting as definition of 'broadcast' read with 'communication to the public', appears to be including all kind of broadcast including internet broadcasting. Thus, the provisions of section 31D are not restricted to radio and television broadcasting organizations only, but cover internet broadcasting organizations also.
The memorandum did not so much change the law as it clarified the law by explicitly allowing internet broadcasters (using a newer technology more widely used than it was at the time the 2012 amendment came into force) to avail of a provision of the copyright statute, Section 31D, which could facilitate their operations.
Excerpts from the Copyright Act, 1957:
31D. Statutory licence for broadcasting of literary and musical works and sound recording.
(2) The broadcasting organisation shall give prior notice, in such manner as may be prescribed, of its intention to broadcast the work stating the duration and territorial coverage of the broadcast, and shall pay to the owner of rights in each work royalties in the manner and at the rate fixed by the Copyright Board.
(4) In fixing the manner and the rate of royalty under sub-section (2), the Copyright Board may require the broadcasting organisation to pay an advance to the owners of rights.
(5) The names of the authors and the principal performers of the work shall, except in case of the broadcasting organisation communicating such work by way of performance, be announced with the broadcast.
(6) No fresh alteration to any literary or musical work, which is not technically necessary for the purpose of broadcasting, other than shortening the work for convenience of broadcast, shall be made without the consent of the owners of rights.
(7) The broadcasting organisation shall— (a) maintain such records and books of account, and render to the owners of rights such reports and accounts; and (b) allow the owner of rights or his duly authorised agent or representative to inspect all records and books of account relating to such broadcast, in such manner as may be prescribed.
(8) Nothing in this section shall affect the operation of any licence issued or any agreement entered into before the commencement of the Copyright (Amendment) Act, 2012.
2. Interpretation. In this Act, unless the context otherwise requires, — (ff) "communication to the public" means making any work or performance available for being seen or heard or otherwise enjoyed by the public directly or by any means of display or diffusion other than by issuing physical copies of it, whether simultaneously or at places and times chosen individually, regardless of whether any member of the public actually sees, hears or otherwise enjoys the work or performance so made available. Explanation.—For the purposes of this clause, communication through satellite or cable or any other means of simultaneous communication to more than one household or place of residence including residential rooms of any hotel or hostel shall be deemed to be communication to the public;
Categories: Amendment, Amendment 2012, Broadcasting, Copyright, Cyber Law, Films and Music, IPR


text:
The Hard-Core in Gay & Lesbian Publishing
Indies and UPs remain committed to a market often courted by the mainstream.
These are exciting times for book people, gay book people included. Although the LGBT book world has seen some sad transitions in recent months, including the loss of two of our most venerable bookstores (New York City's Oscar Wilde Bookstore and A Different Light Bookstore in West Hollywood), we've also seen some exciting and hopeful transitions; for starters, the appointment of the smart and innovative Amy Scholder as editor-in-chief of the Feminist Press and Don Weise as the new publisher of Alyson Books.
With the Feminist Press approaching its 40th anniversary and Alyson, along with Cleis Press, celebrating 30 years in 2010, these stalwarts of gay and feminist publishing are moving forward with energy and creative vision.
Indeed, some of the best LGBT literature continues to be issued by independent publishers, some of them formally gay or feminist presses and other more general presses with a commitment to the issues. We invited Alyson's Weise, who moved to that house after five years at Carroll & Graf, to reach out to some of those presses to see what they are planning for fall. And we spared him the duty of reporting on his own efforts at Alyson and include our own talk with Weise at the end.
Johnny Temple, Akashic Books
"Akashic has always had a strong commitment to publishing works by LGBT authors. We're delighted to have released work from the likes of Nina Revoyr, T Cooper and Felicia Luna Lemus. Our current top-selling novel is Ruins by Achy Obejas; although the story, set in Cuba in the mid-1990s, doesn't offer prominent queer themes, the author has a very strong lesbian and gay readership. The novel was recently selected for the Barnes & Noble Discover Great New Writers series."
The Show That Smells by Derek McCormack ($15.95, July; ISBN 978-1-933354-71-2) mixes elements of humor, horror, history, haute couture... and homosexuality.
Alice Fantastic by Maggie Estep ($15.95, May; ISBN 978-1-933354-81-1) is drawing rave reviews and features queer and bisexual characters in a tale set amid evolving relationships in the lives of two sisters and their mother.
Will Work for Drugs by Lydia Lunch ($15.95, July; ISBN 978-1-933354-73-6) is a new collection from the downtown New York City icon.
Brian Lam, Arsenal Pulp Press
"The books that sell best tend to be ones that most reflect the current culture—in the years since Will and Grace and Ellen put a face to the LGBT experience, there is a growing interest in books that represent all aspects of it. One of our fall 2009 titles, The Nearest Exit May Be Behind You, reflects on the transition from being a lesbian to a gay man. At the same time, the debate over gay marriage is reflected in our Dictionary of Homophobia in 2008, a 300-page translation from the French edited by Louis-Georges Tin, who recently spearheaded a U.N. resolution to criminalize homophobia, which has been signed by President Obama, among others."
The Nearest Exit May Be Behind You by S. Bear Bergman ($18.95 paper, Oct.; ISBN 978-1-55152-264-7) Humorous, thoughtful essays on gender by the author of Butch Is a Noun.
American Hunks: The Muscular Male Body in Popular Culture, 1860—1970 by David L. Chapman and Brett Josef Grubisic ($29.95 paper, Oct.; ISBN 978-1-55152-256-2). A full-color collection of images and essays on the muscular American male from a homoerotic perspective.
Karin Kallmaker, Bella Books
"Technology has created new challenges, not the least of which is maintaining that old, very low-tech person-to-person building of readership. We and our sister press, Spinsters Ink, are not relying exclusively on Internet marketing, waiting for the readers to come to us. We are launching an annual Y Tour to bring authors to where the untapped readers are and connect through mutual interest in local charities. Over four days, lesbian authors from both presses will be building houses with Habitat for Humanity, raising money for local charities at one of the largest party gatherings of lesbians in the United States, and taking part in a first-ever all-lesbian public library event in the Denver area. It's called the Y Tour because we're putting some 'Y' back in womYn."
Sea Legs by KG MacGregor ($14.95 paper, Sept.; ISBN 978-1-59493-158-1). A screwball comedy ensues when Kelly agrees to help Natalie win back her ex, Didi, by pretending they are crazy about each other—only Kelly's not pretending.
The Scorpion by Gerri Hill ($14.95 paper, Dec.; ISBN 978-1-59493-162-8). Reporter Marty Edwards and Det. Kristen Bailey have to learn to trust each other, and fast, or neither may survive the sting of a murderer.
Len Barot, Bold Strokes Books
"Publishers of gay and lesbian literature find themselves in a gray zone between 'mainstream publishing' and 'niche publishing.' While it's true that we predominantly publish works that are of interest to a minority population, there is definite crossover between books written for and about the gay and lesbian (and bi/trans/queer) community/experience and the non-LGBTQ reading population. The crossover is strongest in general fiction, both lesbian and gay, and in the genre fiction categories of mystery and speculative fiction. In this time of economic recession, digital publishing has definitely offered some insulation against the decline in print sales, with a fourfold increase in e-book sales for our titles in the last year. The trends among our titles mirror the general trend in fiction sales as a whole—the largest single category of sales is genre romance followed by mystery/intrigue. We have also had an excellent response to our 'Classics Reissues'—works by luminaries such as Felice Picano, John Morgan Wilson and J.M. Redmann."
The Reluctant Daughter by Lesléa Newman ($16.95 paper, Sept.; ISBN 987-1-60282-118-7).
Returning Tides by Radclyffe ($16.95 paper, Nov.; ISBN 987-1-60282-123-1).
Felice Newman, Cleis Press
"Despite trends, the mission of gay/lesbian publishing doesn't change. We publish books that save lives. Last spring's The Transgender Child: A Handbook for Families and Professionals is the only book on the subject and hopefully it can prevent the bullying and harassment that harm transgender young people. Recently, we received an e-mail from a young bookseller in the South asking for Jon Ginoli to stop by his store on Ginoli's tour for Deflowered: My Life in the Pansy Division. The young bookseller wrote that the queer punk band kept him from killing himself in high school.
"On the business front, we are relieved to report that we are actually up 10% in the first quarter of 2009, compared to last year, due to backlist sales and newly released books outperforming projections."
The Low Road by James Lear ($14.95 paper, Aug.; ISBN 978-1-57344-364-7) brings the author's trademark high adventure, crackling dialogue and rowdy sex to this historical romance in 18th-century Scotland.
Riddle of the Sands by Geoff Knight ($14.95 paper, Sept.; ISBN 978-1-57344-366-1). Indiana Jones meets gay erotica.
Amy Scholder, The Feminist Press
"Having worked in independent publishing for more than 20 years (as editor-in-chief at Seven Stories Press, U.S. publisher of Verso N.Y., editor of High Risk Books/Serpent's Tail, to name a few), it has been exciting to bring my particular background and expertise to the Feminist Press. We've retooled, launching a new Web site (in September 2009) to reach out to younger readers; hiring new staff to address the changing industry; acquiring over a dozen books by writers including Barbara Hammer, Laura Whitehorn, Elizabeth Streb, Karen Finley, June Jordan and others; and introducing a new series called Contemporary Classics, while actively seeking literary works by feminist writers from around the world."
Women Who Kill by Ann Jones ($15.95 paper, Oct.; ISBN 978-1-58861-607-3) is the first in the Contemporary Classics series.
Hammer! Making Movies Out of Sex and Life by Barbara Hammer ($19.95 paper, Mar. 2010; ISBN 978-1-55861-612-7; $39.95 limited edition hardcover, ISBN 978-1-55861-614-1). "Barbara Hammer is a true cinematic pioneer."—Jenni Olson.
John Scognamiglio, Kensington
"Kensington continues to do what it does best, publishing commercial gay and lesbian fiction and nonfiction. Two of its summer titles are aimed not just at gay and lesbian readers but mainstream readers as well: Rakesh Satyal's charming debut novel, Blue Boy, about a young Indian boy coming-of-age in Ohio, and Eddie Sarfaty's Mental, a collection of humorous essays very much in the tradition of David Sedaris and Augusten Burroughs. The focus isn't on being gay.
"One genre that is growing for Kensington is the coming-of-age story, which has really evolved since Edmund White's A Boy's Own Story."
Midnight Hunger by Todd Gregory, Chase Masters and Sean Wolfe ($15 paper, Sept.; ISBN 978-0-7582-3536-7).
Men I Might Have Known by Brad Saunders ($15 paper, Nov.; ISBN 978-0-7582-2962-5).
Laura Baumbach, MLR Press
"Just this month, the Romance Writers of America accepted a new chapter: Rainbow Romance Writers, devoted to authors who write LGBT romance. And New York publishing houses are publishing more mainstream stories with LGBT characters; one is even experimenting with a line of gay historical novels marketed to straight women. As a publisher of gay romance and fiction, I see a wider appeal growing in that audience of straight women, traditionally the largest consumer of romance novels. At the same time, in this age of expanding legalization of gay marriage and a growing realization that love and romance are for everyone, reading romance is even beginning to appeal to gay men. Acceptance of LGBT romance by mainstream readership can only nurture acceptance in other walks of everyday life."
The Golden Age of Gay Fiction, edited by Drewey Wayne Gunn ($TBA, June; ISBN 978-1-60820-048-1). Essays by Earl Kemp, Ian Young, Victor J. Banis, William Maltese, Michael Bronski et al. survey the period roughly between the first Kinsey Report and the first collection of Tales of the City.
The 38-Million-Dollar Smile by Richard Stevenson ($14.99, Sept.; ISBN 978-1-60820-013-9). The 10th novel in the acclaimed Donald Strachey mystery series from a three-time Lambda finalist.
Jennifer Joseph, Manic D
"Books have always been key to opening people's closed minds. The success of Thea Hillman's recent memoir, Intersex (for Lack of a Better Word), demonstrates that curiosity and compassion are stronger than ever among all readers. At a recent San Francisco book festival, a heterosexual lawyer dad stopped by, pointed to Intersex (for Lack of a Better Word), and said, 'Oh, I'm reading that now. I picked it up at Books Inc.; it's really interesting.'
"Forthcoming this summer is a debut novel, Lilac Mines, a spellbinding narrative that's part history, part mystery, very contemporary... with a dash of magical realism thrown in. In September, Manic D is releasing Lynnee Breedlove's One Freak Show. Known for his critically acclaimed bike messenger novel, Godspeed, Breedlove is hilarious—whether he's taking on transgender restroom etiquette issues, language limitations involving pronouns or the difficulties in making a cup of coffee before you've had one."
Lilac Mines by Cheryl Klein ($15.95 paper, Aug.; ISBN 978-1-93314-931-8). Trendy hipster dyke Felix joins her stoic aunt Anna Lisa in a hardscrabble town in the Sierra foothills after being gay bashed, and explores the town's namesake mystery: the disappearance of 16-year-old Lilac Ambrose in 1899.
Lynneé Breedlove's One Freak Show by Lynn Breedlove ($14.95 paper, Sept.; ISBN 978-1-93314-932-5). A gender-bending collection of comedic thoughts and essays.
Raphael Kadushin, University of Wisconsin Press
"Those books that have attracted multiple markets are working best for us, especially now that gay authors aren't as easily ghettoized as they once were. So, for example, Lev Raphael's My Germany is building sales largely through a Jewish market and readers interested in the Holocaust and German history, as much as Raphael's existing gay audience. Michael Montlack's My Diva is getting a lot of attention from the mainstream press as well as the gay press, since the figure of the diva is such an integral part of pop culture. Alistair McCartney's End of the World, though informed by a gay sensibility, really won attention among serious readers of literary fiction more for the beauty of its prose than for its gay content. And Maureen Seaton's Sex Talks to Girls sold as well to fans of Seaton's poetry as it did to a lesbian market. But all these books also depend very much on gay readers and reviewers, and we don't want to take that core market for granted."
Gay American Autobiography, edited by David Bergman ($29.95 paper, May; ISBN 978-0-299-23044-9). Collecting 150 years of gay life writing from Thoreau and Henry James to David Sedaris and Justin Chin.
Sugarless by James Magruder ($24.95, Oct.; ISBN 978-0-299-23380-8). A coming-of-age (and coming-out) story set in the 1970s against the backdrop of cutthroat high school forensics tournaments.
Alyson Books, Don Weise
Despite arriving as publisher of Alyson Books only last fall, Weise has put together a strong fall list. Alyson continues its titles in humor, mystery and erotica, but Weise has expanded into new categories, including lesbian and gay true crime, current affairs, more self-help/wellness and, perhaps most notably, TV/film/magazine tie-ins to the properties owned by Alyson's parent company, Regent Media, which operates the premium cable channel Here TV and owns the Advocate and Out magazine.
Says Weise, "In spite of what I sometimes hear about 'nobody reading' or gay books no longer functioning as a driving force of visibility, our lives as LGBT people can't always be reduced to a half-hour sitcom or a two-hour movie. We sometimes need an 80,000-word book to tell our stories."
Mapping the Territory: Selected Nonfiction by Christopher Bram ($23.95, Sept.; ISBN 978-1-59350-143-3). The first book of nonfiction from an author Tony Kushner calls "one of the best novelists writing in the world today."
Zipper Mouth by Laurie Weeks ($14.95 paper, Jan. 2010; ISBN 978-1-59350-154-9). The long-awaited debut novel from Boy's Don't Cry screenwriter Laurie Weeks, whose work was recently selected by Dave Eggers for Best Non-Required Reading 2008.
A version of this article appeared in the 06/01/2009 issue of Publishers Weekly under the headline:


text:
Q: Find the max and min values for $f(x,y)=y^2-x^2$ subject to $(1/4)x^2+y^2=1$ using the Lagrange Multiplier When you solve the system of the derivates, you end up with two different values for the same multiplier as well as $-1/2 = 2$
This is my solution:
$\nabla f(x,y)=\lambda \nabla g(x,y)$ which takes us to the following nonsense system:
$-2x=\lambda (1/2)x$
$2y=\lambda2y$
it gives us $\lambda = 4$ and $\lambda = 1$ and $-0,5=2$
How can this system of equations give me the maximum and minimum points that I'm looking for?

A: Apart from solving the system that gets the stationary points of
$$L(x,y,\lambda) = y^2-x^2- \lambda\left(\frac 14 x^2 +y^2-1\right),$$
you must make the argument that $f$ actually attains a max/min on the admissible region, and that these max/min are critical points of the Lagrangian function.
The existence of max/min comes from the fact that $f$ is continuous over the admissible region and that the admissible region (defined by $\frac 14 x^2+y^2=1$) is a compact set.
The fact that all involved functions are differentiable and that the Jacobian matrix of the restriction has maximal rank allows you to conclude that the min/max are attained at  critical points of $L$.
Just solving the system is not a complete answer.

Regarding the solution of the system, you have that
$$ -2x-\lambda \frac x2=0, \quad 2y -2\lambda y = 0,\quad \frac 14 x^2+y^2=1$$
Starting with the first equation, you get $x=0 \vee \lambda = -4$. If $x = 0$, you get $y = \pm 1$. If $\lambda = -4$, you get $y=0$ and then $x = \pm 2$. So, four candidates for min/max: $(0, \pm 1)$ and $(\pm 2, 0)$. Checking the value of the objective function $f$ over these four points, you conclude that the global minimum is attained at $(\pm 2 0)$ and the global maximum is attained at $(0, \pm 1)$.


text:
Article Tag Archives: soccer
Alexis Heffernan and Caitlyn Stephan
The Bulldog women's soccer team captured its 20th straight season of double-figure victories in 2014, making a run to the Great Lakes Valley Conference semifinals and finishing with an overall record of 13-5-2.
Truman was led this season by a trio of all-GLVC performers in junior forward Alexis Heffernan, senior defender Lauren Seawright and junior defender Jessica Hanson. Heffernan was the team leader in goals (10), points (23) and shots (80), raising her career total to 19 goals in 54 matches. Meanwhile, Seawright and Hanson helped anchor a young Bulldog defense behind 11 shutouts in 20 matches this year. The tandem started every match this season and helped Truman's two freshman goalkeepers face just 175 shots (9.2 per match) and 82 shots on goal (4.3 per match).
Both Heffernan and Seawright also earned NSCAA all-region honors, with each picking up the awards for the second straight season. Heffernan also garnered first-team all-region honors from Daktronics.
The Bulldogs, under the direction of head coach Mike Cannon, will return eight starters for the 2015 season that will begin at home on Sept. 4-6.
Zach Hollstrom
The Bulldog men's soccer team got out to a fast start in 2014 but came out on the wrong side of a handful of tight contests down the stretch, as Truman went 5-11-1 this fall on the pitch.
Truman jumped out to a 3-0-1 start, posting four shutouts and earning seven quick points in conference play. However, as mid-October hit, the Bulldogs struggled to score and dropped their final six games of the regular season to just miss out on the Great Lakes Valley Conference tournament.
Junior Corey Nolte led the Bulldogs out the midfield with four goals, while senior Brandon Visonnavong added two goals on just six shots. Nine other Bulldogs found the scoring column, while senior Drew Garrone posted a 1.51 goals-against average in net with 17 starts.
The Bulldogs, under the guidance of head coach Duke Cochran, will return six starters for the 2015 campaign, which will begin on the road on Sept. 4-6.
This entry was posted on January 20, 2015 by kbest.
The 10th NCAA tournament trip in school history highlighted the 2013 women's soccer season, as the Bulldogs finished second in the Great Lakes Valley Conference during its first year in the league.
The Bulldogs won 12 matches during the regular season and GLVC tournament, advancing to the NCAA tournament where it fell 2-0 to Rockhurst in the first round. Head coach Mike Cannon's team landed seven players on all-GLVC teams, including first-team senior Trisha Shoemaker, second-team senior Emily Bozdeck and junior Lauren Seawright, and third-team seniors Suzanne Pelley and Kristina Weishar, along with sophomores Alexis Heffernan and Jessica Hanson.
Truman posted a 12-match unbeaten streak during the middle of the season and allowed just 12 goals during the year while scoring 30. Shoemaker was the team-leader with eight goals, while she, Heffernan, Weishar and senior Sally Smith each added four assists.
The Bulldogs are set to return five starters for the 2014 season, which will begin in September.
The Bulldog men's soccer team finished tied for 11th in its inaugural season of Great Lakes Valley Conference play, running into a rough patch late in the season after starting the year 6-3-1 in its first 10 matches.
The year got off to a fast start, as Truman poured in 11 goals in its season-opener against Iowa Wesleyan en route to 34 total goals on the season. The Bulldogs gave up 24 goals for a +10 differential, while out-shooting its opponents 113-95 on goal.
Junior Nick Franta and sophomore Nick Tolmais co-led the squad with six goals apiece, while junior Chris Mansfield added a team-high five assists.
The Bulldogs are set to return nine starters for the 2014 season, which will begin in September.
This entry was posted on January 23, 2014 by tmiles.


You need to act fast, though. This deal ends tomorrow night, November 30, at midnight.
sales, up to 80% off retail, just for them and the kids, ages 0-7.
You'll find top brands for mom, baby, and child.
And prenatal care products, baby gear, children's clothing, bedding and bath, educational materials and so much more!
the effects of deforestation. Who says shopping can't save the world?
That's great to know. I like supporting companies who care about our environment.
It's wonderful they're being "green"!


I worry that sometimes people hear the beginning (because there's still more to come) of my writing journey and think that I never met any discouragement along the way. While that would have been lovely, it is simply not true. Though I did not walk the unpublished road for a long, long time like so many writers I admire so much have, I did walk it. Those men and women whose road is longer have grit. (Seriously, they are my heroes.) But I do feel I walked it long enough to acquire a few memorable rejections.
A very successful author was talking to me the other day and we shared some of our rejection stories. She told me I'd love them at some point, that they would be my writing backstory. And I already do love them. But I didn't when I first received them. Now they are not only comical but they are a testament to my ability to keep going. Perseverance is a virtue, rejection is a reality, setbacks happen. And we writers have to wrap our heads around all that. It's hard to grasp when you are in the middle of it, but it is part of the adventure.
Do you love it? She described my writing as Yoda-esque. I didn't even know that was a thing. And the really funny part is I don't think I could write like Yoda if I wanted to. I remember this one stinging when I read it. I quickly pulled up the manuscript and read the dialogue and it didn't sound bad. So I had my husband read it and it sounded awful (and, yes, kind of like Yoda). I rewrote the dialogue. It got better and stronger. They were right!
I had queried an agent and she was nice enough to write back and tell me no. I didn't know enough about agent etiquette to just walk away so I emailed some questions back and lo and behold she answered me. After a few back and forths I asked her if I worked on the things she suggested would she want to see it again.
This was one of the first queries I'd sent out so I was shocked. I had secretly hoped the world would fight over my novel. I'd slaved away on it for so many months how could it not be ready yet?
I ended up getting a "request for a full" (when an agent responds to your query by asking to see the complete manuscript) out of that same batch of queries and then offers for representation came. I learned my book wasn't for everyone and that was okay. And she'd been right too. Even though I was able to find representation while it was in its current form, I did still have to do a lot of editing and work to polish my manuscript.
Before I had a publishing deal I entered my story in a contest. By the time I got the results back I had found a home for my manuscript. I think the results of the contest would have been even more disheartening if that had not been the case!
One judge did not care for my story at all. (Thankfully there were judges that did enjoy it). In every category this particular judge gave it bad marks (REALLY bad marks).
Pretty much every category was equally blunt.
I shared the results of the contest with my editor and she just shrugged it off and told me to stop worrying. "You have a contract. We love you. We have editors that know how to use commas." This reminder lessened the sting. . . somewhat.
Rejection happens. Sometimes there is something to be learned from the rejection. Sometimes it's just not a good fit. Sometimes people just don't like what you write. Sometimes you just have to laugh it off.
I don't know of an author that has not faced some rejection. When you feel that you are the only one just trust me when I say we all have some sort of rejection tucked away in our inboxes.
How about you? Have you faced any rejection on your road to success?
I love your honesty in this post! I especially like that you shared specific examples. I think it's helpful for writers to know they aren't alone. I have certainly experienced rejection in different ways along this writing journey. Thankfully, I have been able to learn from each one and have no regrets so far.


text:
Q: Php Pdf Parser read content showing as a two lines. need to fix it I used pdfparserto read PDF content. but one address line showing as a two line. in that time it is showing as a two new lines. i want to get that full address as a one line. pdf files are dynamic. according to the address length it is showing as a multiple lines.
I need proper solution to read that contents as a one line. i will attach that PDF address line here for reference.
I think you can understand my requirement.
**my pdf read code is **
$fileName = basename($_FILES["file"]["name"]);
$fileType = pathinfo($fileName, PATHINFO_EXTENSION);

// Allow certain file formats
$allowTypes = array('pdf');
if(in_array($fileType, $allowTypes)){
   // Include autoloader file
   include 'vendor/autoload.php';

   // Initialize and load PDF Parser library
   $parser = new \Smalot\PdfParser\Parser();

   // Source PDF file to extract text
   $file = $_FILES["file"]["tmp_name"];

   // Parse pdf file using Parser library
   $pdf = $parser->parseFile($file);

   // Extract text from PDF
   $text = $pdf->getText();

   // Add line break
   $pdfText = nl2br($text);
}else{
  $statusMsg = '
Sorry, only PDF file is allowed to upload.
';
}

After read pdf content it is showing like this

How can i get related content as a one line

A: $pdfText = nl2br($text);  replace this line with  $pdftext = str_replace("\t","insert here br tag",$text);


ShipWorks is integrated with all of the store platforms below, so it's super easy to add your store into ShipWorks.
Click your store type for instructions on adding your store into ShipWorks.
ShipWorks can still work with non-integrated store platforms, too!
If your store type is not on this list, you can still use ShipWorks. You can either use a Generic-File type of setup where you'll use flat data files to import your orders, or you can have a developer create a Generic-Module just for your store with the help of our Generic-Module Development Guide. We have happy customers using both methods of working with non-integrated stores.


text:
Ray Mirra Hillsboro – Is He Just An Entrepreneur?
Famous in Philadelphia and its surrounding areas, Ray Mirra Hillsboro is someone not only into establishing new businesses but also giving out endless donations. No matter how much he earned in profits as an entrepreneur, his helping nature seemed to have no limits. To everyone around him, Ray was much more than the usual business owners we come across.
All along running multiple businesses successfully, he used to keep donating his BEST to charity organizations providing social services. Unlike other entrepreneurs, he never kept his earnings to himself and only invested them for becoming richer. Instead, a part of his earnings always went into charities and donations – making him a benevolent person by nature.
Charity Organizations Witnessing Ray's Personalities
Every charitable trust in different locations of the USA is a witness to the helping nature of Ray Mirra – especially those in Philadelphia. Conveying that he was not just an entrepreneur, he seemingly had two personalities within that made him a legend.
The first personality in Ray Mirra Entrepreneur was someone who knew how to plan unique business strategies and make them successful. Secondly, another angel in his personality was an incredibly benevolent person who loved being a part of social services. Owing to his limitless donations and charities, he is very famous in Philadelphia.
Skilled at establishing new businesses in different profitable sectors of different industries, Ray never failed at making a business successful. Therefore, proving that he was not just an entrepreneur who knew the art of planning growth strategies for his startups that turned into full-fledged businesses. He was an enthusiast whose benevolent nature had no bound and giving our donations to charity organizations seemed to have no end.
Never-Ending Donations & Charities
One of the timeless examples of the benevolent nature of Ray Mirra Hillsboro is his donation at the Annual Gala of the Bethesda Project. Since the project was initiated in 2011, it has received HUGE donations and charities from the humanist – thanks to him for being so beneficent.
Other than the Bethesda Project, many other organizations like the Children's Cancer and Blood Foundation, Foundation for Primary Immunodeficiency, Ligouri Academy, and St Norbert's School have also received Ray's boundless. donations. Some of these organizations are his own establishments and are providing endless social services to people in need.
Apart from giving our donations and charities, Ray Mirra is also the chairperson at Ligouri Academy which was established to raise funds for the restaurants in Philadelphia. The academy provides its owners with the financial support to operate smoothly. Until now, even after years, fundraising is going strong. Thus, proving that Ray is a humanist passionate about contributing to social activities – along with running successful businesses.
Affection Towards Children
Raymond Mirra used to adore children and his warmth towards them made him provide financial support to the Children's Cancer and Blood Foundation. For more than a decade, he has helped the organization with monetary donations and charities. Therefore, indicating that he was not just an entrepreneur who kept on adding to Raymond Mirra Net Worth. Instead, around the areas of Philadelphia and all over the USA, he was known as a HUMANIST.
By Ray Mirra|2022-01-18T05:22:03+00:00December 13th, 2021|Ray Mirra|0 Comments
About the Author: Ray Mirra


text:
package gateway

import "github.com/TheThingsNetwork/ttn/utils/errors"

// Validate implements the api.Validator interface
func (m *RxMetadata) Validate() error {
	if m.GatewayId == "" {
		return errors.NewErrInvalidArgument("GatewayId", "can not be empty")
	}
	return nil
}

// Validate implements the api.Validator interface
func (m *TxConfiguration) Validate() error {
	return nil
}

// Validate implements the api.Validator interface
func (m *Status) Validate() error {
	return nil
}

// Validate implements the api.Validator interface
func (m *GPSMetadata) Validate() error {
	if m == nil || m.IsZero() {
		return errors.NewErrInvalidArgument("GPSMetadata", "can not be empty")
	}
	return nil
}

func (m GPSMetadata) IsZero() bool {
	return m.Latitude == 0 && m.Longitude == 0
}

redpajama_set_name: RedPajamaGithub


Rapid City freelance writer and marketing consultant Molly Barari holds an MFA in Creative Writing from Wilkes University. She has presented life writing workshops to groups such as Community Education of the Black Hills, On Common Ground, Rapid City Society for Genealogical Research and Black Hills Retired School Personnel. Such workshops inspired her first book, Dakota Heirlooms, a collection of true stories from senior citizens. Barari loves doing yoga, walking, reading, and watching Alfred Hitchcock movies.


text:
Why Do We Still Have a Three Tier System for Alcohol Still?
In a conversation the other day a friend asked why do we still have a three tier system for Alcoholic Beverages? I had to think about it and two things come to mind, first is government control of the dissemination if alcoholic beverages and the second relates to the taxation of the product. The more layers that you put it through the more tax money can be collected. Alcohol is one of the most taxed products that are legal to sell here in the United States. The basis of the system hasn't changed much in the past 80 years, but distributors are not state based businesses and the larger producers are getting shelf space where smaller "craft producers" don't seem to be able to get into stores of bars.
The Three Tier System is simple really, Producer or Importer to Distributor to Retailer to Customer.
Retailer and Customers
The 21st Amendment to the U.S. Constitution, which repealed Prohibition, left it up to the states to regulate the distribution and sale of alcoholic beverages. The states did not have to impose a three-tier system - comprising producers, distributors and retailers - but all of them did. While producers in many sectors rely on distributors to get merchandise to market, with alcohol, it is mandatory. By law, producers may only sell to distributors and retailers may only buy from distributors. Drinks retailers and producers may not do business with each other directly. No business in one tier may own a business in any other tier. Only retailers may sell to consumers. What's more, distributors are required to be in-state businesses.
The system has in fact, become a hollow shell. In-state ownership is a joke. Most distribution companies now are national enterprises that merely have subsidiaries in each state. Cross-tier ownership has become common; drinks-makers establish subsidiaries - often in the names of different members of the owner's family - that buy stakes in tier-two distributors. This is why small brewers, distillers and vintners so often complain that their products can't get shelf space
Read More at http://www.rstreet.org/2016/06/24/do-we-still-need-the-three-tier-system-for-alcohol/
I'm not saying to do away with the system completely, but there needs to be some concessions made so the small craft producers have a viable path to the marketplace. The biggest killer for the small craft alcohol producer is that if they don't move it from their showroom at the distillery, they are in trouble. Most of the big distributors won't handle these small producers and if they do usually don't let anyone know that they are available unless a client specifically asks for it. This is an unfair restraint of business that is sanctioned by the government and needs addressing.
Why Do We Still Have a Three Tier System for Alcoh...


text:
Nadejda Stepànovna Sokhànskaia () (, segons altres fonts 1825, khútor de Vessili, uiezd de Korotxanski, gubèrnia de Kursk-), també coneguda pel seu pseudònim literari Kokhanóvskaia (), fou una escriptora de contes curts i autobiògrafa russa que escrigué sobre Ucraïna.

Biografia
El seu pare era un capità de l'exèrcit que va morir quan ella era petita. Va assistir a un col·legi internat des dels onze als disset anys, i fou una alumna distingida. Quan va tornar a casa es va trobar que la seva família era a la misèria. No va aconseguir trobar feina d'acord amb les seves ambicions i només la religió li proporcionava esperança.

Sokhànskaia encara llegia i escrivia contes curts, que presentava de cara a ser publicats. Va enviar còpies al crític literari Piotr Pletniov, que havia editat la revista El Contemporani. Ell li va aconsellar d'escriure sobre la seva pròpia vida. Això li va servir per millorar l'estil, i durant la dècada del 1850 va publicar moltes històries sobre la vida local. Aquestes històries estaven ambientades en l'àrea en la qual vivia a Ucraïna, i incloïen la cultura i història local. Va continuar escrivint tota la vida, i la seva Autobiografia va ser publicada el 1896 després de la seva mort a la Gubèrnia de Khàrkov el 1884.

Vegeu també
 Literatura russa.

Referències

Escriptors russos en rus
Morts a Ucraïna

redpajama_set_name: RedPajamaWikipedia


text:
Q: How can I create a list with Interface Instances I have an interface:
public Interface IStudent
{
    Students students {get;}
    Boolean CanStayAfterHours;
}

public enum Students
{
    Student1,
    Student2,
    Student3,
    Student4
}

How can I add IStudent properties to a generic list? List<IStudent>?

A: You first need to have a class that implements that interface:
public class Student : IStudent {
    Students students { get; set; } // set, for example
    Boolean CanStayAfterHours { get; set; }
}

Then you can add them to a list like this:
var studentList = new List<IStudent>() {
    new Student() { CanStayAfterHours = true },
    new Student() { CanStayAfterHours = false, Students = Students.Student1 },
    new Student() { CanStayAfterHours = true },
};

Your design doesn't make much sense... but I'll leave that to you to figure out.

A: IList<IStudent> can be used to keep a list of IStudent objects. Of course you need a class Student that implements IStudent, because you cannot create an instance of an interface. The purpose of your enum is unclear, you clearly don't want an enum value for each student, since that would require a rebuild of your application every time a new student signs up.

A: You'll need to implement a concrete object that implements the interface
public class ConcreteStudent : IStudent {
public Students students { get; set; }
public bool CanStayAfterHours { get; set; }

}
Some changes where required to the interface, I added some setters to the interface, hope this agrees with your design
public interface IStudent {
    Students students { get; set; }
    Boolean CanStayAfterHours { get; set; }

}
Then adding these objects to a list, we do the following
List<IStudent> students = new List<IStudent>()
students.Add(new ConcreteStudent()
{
 students = Students.Student1,

});

A: interface ListofPatientService
{
List
  retriev();

}
class listofServiceDummy : ListofPatientService
{
    List<patientmodel> list = new List<patientmodel>
    {
         new patientmodel(){Name="Abdi", Age= 30, Description=""},
         new patientmodel(){Name="HassaN", Age= 40, Description=""},
          new patientmodel(){Name="Hasna", Age= 35, Description=""},
           new patientmodel(){Name="Moktar", Age= 50, Description=""},
            new patientmodel(){Name="Liban", Age= 55, Description=""},
    };

}


Capture enemy means fence the pirate to capture the pirate and bring the pirate to port to complete the job. Capture enemy do not have high special requirements, for you to take the job. You can see what is required to take the job, by clicking it.
You need to sail six miles or more away from the port where you took the job, for the capture job to appear, It will be a pirates with green [ ] around its name, indication it is your job.
Capture enemy give low amount of gold.
Note that if a capture job runs away, it will respawn without the green [ ] around its name.
Hint: If you want fence skill, it can be easier to do a lot of small ship class capture jobs, at a high ship class city, then doing the high ship class jobs.
Learn all about fencing here.


Here's a story of a sue-happy immigrant who beat the snot out of Joe Average American in court, winning a $30,000 judgment over the Craigslist purchase of a $40 printer he claimed never worked right.
Yes, I reissued this message in order to fix a wrong link. PLEASE forward THIS message AS-IS, far and wide.
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text:
Major Blow Dealt To Big Tobacco By FDA
By Bryan Le 07/31/17
The announcement had an immediate effect on Big Tobacco's stock prices.
The move would cut the addictive power of tobacco products.
The Food and Drug Administration has set its sights on a new goal: reducing the amount of addictive nicotine in every cigarette. Announcing this historic move on Friday, the administration hopes to further reduce smoking rates in the United States.
"The overwhelming amount of death and disease attributable to tobacco is caused by addiction to cigarettes—the only legal consumer product that, when used as intended, will kill half of all long-term users," said FDA Commissioner Scott Gottlieb. "Unless we change course, 5.6 million young people alive today will die prematurely later in life from tobacco use."
As soon as the FDA's goals were announced, Big Tobacco's stocks fell almost immediately. "It's a real blow to Big Tobacco, there's no question about that," said NPR's Rob Stein, "and tobacco stocks have already started to fall."
Cigar, pipe tobacco and hookah tobacco will have to submit product review applications by August 8th, 2021 if they want to continue marketing and selling in the United States. Newer, smoke-free nicotine delivery systems such as vaping and e-cigarettes will be required to submit applications by August 8th, 2022. The FDA also plans to hold public comment sessions on what to do about the "kid-appealing flavors" that smokeless nicotine product catalogs are rife with.
This issue is especially pressing as researchers have noted that teens who vape are more likely to become cigarette smokers. Around 40% of 10th graders have vaped, according to researchers.
"Because nicotine lives at the core of both the problem and the solution to the question of addiction, addressing the addictive levels of nicotine in combustible cigarettes must be part of the FDA's strategy for addressing the devastating, addiction crisis that is threatening American families," said Gottlieb. "Our approach to nicotine must be accompanied by a firm foundation of rules and standards for newly-regulated products. To be successful all of these steps must be done in concert and not in isolation."
Smoking has consequences beyond lung problems. Studies have shown it can change a smoker's DNA (making them more prone to cancer), doubles the risk of alcoholic relapse, and even hurt your job prospects—a study found that smokers make $5 less an hour than non-smokers.
reduce nicotine
reduce addictiveness
Bryan Le
Bryan Le grew up in the 90's, so the Internet is practically his third parent. This combined with a love for journalism led him to The Fix. When he isn't fulfilling his duties as Editorial Coordinator, he's obsessing over fancy keyboards he can't justify buying. Find Bryan on LinkedIn or Twitter.
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addressing the crisis
FDA Admits Past Mistakes In Handling Opioid Crisis
drunk dials
Drunk Woman Dials 911 for More Cigarettes
celebs & mental health
Ariana Grande Among The Dozens Of Celebs Helping To End Mental Health Stigma
gaming disorder
When Does Hardcore Video Gaming Become An Addiction?
celebs & sobriety
Macklemore: Sobriety Brought Me Closer To My Mother-In-Law
sober celebs
Ringo Starr Speaks On Peace, Love & Sobriety
Toni Braxton's Niece's Cause of Death: Heroin, Fentanyl Intoxication


text:
Die Berliner Fußballmeisterschaft 1927/28 war die siebzehnte unter dem Verband Brandenburgischer Ballspielvereine (VBB) ausgetragene Berliner Fußballmeisterschaft. Die Meisterschaft wurde in dieser Saison in zwei Gruppen zu mit zehn Mannschaften im Rundenturnier mit Hin- und Rückspiel ausgetragen. Die beiden Gruppensieger spielten dann im Finale um die Berliner Fußballmeisterschaft. Am Ende konnte Hertha BSC das Finale gegen den Berliner Tennis-Club Borussia gewinnen und wurde zum siebten Mal Berliner Fußballmeister. Mit diesem Sieg qualifizierte sich der Verein für die deutsche Fußballmeisterschaft 1927/28. Wie schon in den beiden Vorjahren erreichte Hertha BSC erneut das Finale um die deutsche Fußballmeisterschaft. Nach Siegen über die Vereinigten Breslauer Sportfreunde im Achtelfinale, Holstein Kiel im Viertelfinale, sowie den FC Wacker München im Halbfinale mussten sich die Herthaner in dem am 29. Juli 1928 stattfindenden Finale dem Hamburger SV mit 2:5 geschlagen geben.
Der Berliner Tennis-Club Borussia war als Berliner Vizemeister ebenfalls für die deutsche Fußballmeisterschaft qualifiziert. Nach einem 3:1-Sieg über Preussen Krefeld erreichte Tennis-Borussia das Viertelfinale, welches mit 1:4 gegen den FC Wacker München verloren ging.

Gruppe A

|}

Gruppe B

|}

Finale Berliner Fußballmeisterschaft
Das Hinspiel fand am 4. März 1928, das Rückspiel am 18. März 1928 und das Entscheidungsspiel am 15. April 1928 statt.

|}

Quellen

 Berliner Fußballmeisterschaft 1927/28 bei http://www.claudionicoletti.eu

1927
Fußballsaison 1927/28


Calling on the President to work toward equitable, constructive, stable, and durable Armenian-Turkish relations for the next 100 years based upon the two countries' common interests and the United States' significant security interests in the region.
Expressing the sense of the House of Representatives with respect to promoting energy security of European allies through the opening of the Southern Gas Corridor.
Expressing support for the efforts of the Republic of Turkey, the Hashemite Kingdom of Jordan, and the Lebanese Republic to provide housing, educational opportunities, health care, and other forms of humanitarian assistance to individuals and families displaced by the conflict in Syria.
Congratulating the Government and People of the Republic of Turkey as they celebrate Republic Day.
Condemning in the strongest terms the terrorist attacks in Istanbul, Turkey, on June 28, 2016, that resulted in the loss of at least 44 lives.


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International Symposium 3R: "Revolution, War and their Consequences"
On 16 and 17 March 2018, the International Symposium "Revolution, War and their Consequences" will take place at the Natolin (Warsaw) campus of the College of Europe.
March 5, 2018 - New Eastern Europe - Events
The symposium continues the work of the 3R Project, initiated by the Chair in 2016, and will be dedicated to the events which took place in post 2014 Ukraine and their consequences for the Ukrainian society as well as the international relations in the region and globally.
The participants of the conference will concentrate on the following topics:
International reaction to the 2014 events in Ukraine;
The annexation of Crimea and its consequences for Ukraine and Europe;
The war in Donbas and its consequences;
Memory and justice in times of transformation (Eastern Europe);
Information warfare and hybrid warfare.
Among the conference speakers will include key Ukrainian and European officials involved in resolving the crisis in Ukraine: François HOLLANDE, former President of the Republic of France; Arseniy YATSENYUK, former Prime Minister of Ukraine; Sviatoslav SHEVCHUK, Major Archbishop of the Ukrainian Greek Catholic Church; Adam Daniel ROTFELD, former Minister of Foreign Affairs of Poland; Borys TARASYUK,former Minister of Foreign Affairs of Ukraine; Mykhailo KOVAL, first Deputy Secretary of the National Security and Defense Council of Ukraine and former Minister of Defence of Ukraine; Danylo LUBKIVSKY, former Deputy Foreign Minister of Ukraine; Daniel FRIED, the State Department's Coordinator for Sanctions Policy, former US Ambassador to Poland; and Refat CHUBAROV, chairman of the Mejlis of the Crimean Tatar.
A strong body of distinguished scholars will be represented by Prof. Igor GRETSKIY, Prof. Stefan HEDLUND, Prof. Aleksandra HNATIUK, Prof. Yaroslav HRYTSAK, Prof. Andriy MELESHEVICH, Prof. Kálmán MIZSEI, Prof. Serhii PLOKHII, Prof. Kataryna WOLCZUK and much more…
On the second day of the conference, 17 March 2018, the Ukrainian film by Akhtem SEITABLAEV titled Kiborgy (Eng. Cyborgs: Heroes Never Die) will be screened for the first time in Poland. The film tells the story of a several-weeks-long military duty in September 2014. A group of military volunteers comes to Donetsk Airport which has been held by Ukrainians for more than four months of war. These volunteers are known as Cyborgs. The screening will be followed by a discussion with the film director Akhtem SEITABLAEV and Ivanna DIADIURA.
The conference will be preceded by a debate dedicated to the centennial of the Russian revolution and the ending of WWI entitled "Between Russian Empires. One hundred years on" on 15 March 2018.
The programme of the conference is available here. Please note that it might still be subject to some changes.
In order to register please send an e-mail with your name, surname and affiliation to 3r.natolin@coleurope.eu. The registration to the conference is open until 9 March 2018.
3R, conference, revolutions, Ukraine
Film as a counternarrative
January 2, 2019 - Jakub Bornio - Books and ReviewsIssue 1 2019Magazine
Ballad of a common soldier
April 25, 2018 - Piotr Pogorzelski - Books and ReviewsIssue 3-4 2018Magazine
2018 Riga Conference Livestream
January 28, 2018 - New Eastern Europe - Events
Issue 1-2/2020: Bound to Explode?
Uncertainty, volatility and the relationship between Russia and the West.
Issue 6/2019: New (Old) Faces?
A true makeover or cosmetic change?
Issue 5 2019: The Black Sea region
The Black Sea region is quickly becoming a geopolitical battleground which is gaining the interest of major powers, regional players and smaller countries – and the stakes are only getting higher.
Issue 3-4/2019: Eastern Partnership turns 10
This issue is dedicated to the 10 year anniversary of the European Union's Eastern Partnership as well as the 30 years since the 1989 revolutions in Central Europe.
Issue 2 2019: Postmodern Geopolitics
The consequences of the emerging multipolar world.
Issue 1 2019: Public intellecturals
This issue takes a special look at the role and responsibility of the public intellectual in Central and Eastern Europe today.
Issue 6/2018: 1918. The year of independence
In the eastern parts of the European continent, 1918 is remembered not only as the end of the First World War, but also saw the emergence of newly-independent states and the rise of geopolitical struggles which are felt until this day.
Issue 5/2018: What's new with Belarus?
It often seems, at least from the outside, that Belarus remains isolated from the West and very static in its transformation. Yet, despite its relative isolation, Belarus is indeed changing.
Issue 3-4/2018: Para-states. Life beyond geopolitics
The Summer 2018 issue of New Eastern Europe tackles the complexity of para-states in the post-Soviet space.
Issue 2/2018: The many faces of Putin
Vladimir Putin is set to win a fourth term as president of the Russian Federation. The March-April 2018 issue takes a deeper look at the consequences of Putin's presidency and what could eventually come after…
Issue 1/2018: The growing generation gap
The first issue of 2018 looks at the rise of a new generation in the post-Soivet space – one that may be radically different than previous Soviet and immediate post-Soviet generations.
Issue 6 2017: Central Asia. The forgotten region?
Central Asia is an ethnically, geographically and culturally diverse region, covering a similar land mass as the European Union. Yet, it remains one of the least familiar to the general public in the West.
Issue 5 2017: Homo Post-Sovieticus
We cannot deny there is something idiosyncratic about the former Soviet bloc which links its societies together. Either through common experience or history (or both).
Issue 3-4 2017: The Balkan Carousel
"The price of Europeanising the Balkans is much higher than the price of the Balkanisation of Europe," claims Zagreb-based writer Miljenko Jergović in the opening essay to this issue of New Eastern Europe.
Issue 2 2017: Is the world turning upside down?
If there is one phrase that is being repeated like a mantra in 2017, it is that "the world is upside down".
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The Transformation of Everyday Life
Download 2018-19 Application, the seel retreat is offered annually from September to May. Meet with a spiritual director twice a month for an hour. An established habit
A large Economic Downturn in East Asia
The most significant issue for the CIS is the establishment of a full-fledged free trade zone / economic union between the member states, to be launched in
Distrust in the constitution a
A constitutional Monarchy allows a monarch to act as a nonpoliticalhead of state in accordance with a constitution. They both were laws of the United States. First
A track record of remarkably rapid candidate shortlist delivery, well ahead of industry standards. The event will take place on Wednesday, August 29, from 7:00 to 9:00.m...
It targets externalizing behaviors and strengthens prosocial behaviors. "Childhood Sexual Abuse : A Mental Health Issue". Archived from the original on Retrieved " Child trafficking". A..
Biomechanics of the golf swing
don't! To avoid imparting sidespin on the ball the club must impact the ball perfectly square to the target and the direction of the stance (Figure.2). Stability allows control over the swing which contributes to the accuracy of the shot. The study by Kenny. Backswing, the backswing allows for energy to begin to be built and position the golfer in the optimum position for the downswing. The coefficient of restitution is hard to control as clubs and balls have limited variance but understanding it may help in club and ball selection. In golf, loading the back foot during the backswing and transferring this weight onto the front foot during the downswing and acceleration phases can achieve a greater club-head velocity at impact (Hume.,.435). The instruction was going nowhere. If the ball has side spin imparted on it will swerve in the direction the club was angled at impact. As the following video highlights, Tiger Woods has been able to maximise the use of biomechanical principles to create consistently long and accurate drives. The golfers centre of centre of gravity should herman Melvilles Life be forward of the midline between the feet and the axis of the shoulders - arms - hands lever in the chest should be in the same position it was throughout the downswing.
Biomechanics of the, effortless, golf, swing, Ben Hogan Mental Game
I say, suppressing laughter because a mere four days ago I was in the same boat as this guy, "Why don't you try this." I go through the grip and stance routine. Maximal speed of release. The greater the club head velocity at strike phase, the greater the energy imparted on the ball. The Magnus Effect, the magnus effect can have both positive and negative uses within golf. Savvy golf teaching instructors use, chiro, fit as an effective and simple to use teaching and training tool and can also be part of our Affiliate Program Read More. With the exception of putting, the initial passage of the ball through the air is generally responsible for a greater proportion of the displacement achieved (Hay,.276). After 50 years of studying the golf swing and five years of biomechanical research,. It can be seen (figure.2) that the way the club strikes the ball imparts spin on the ball.
Israel - Palestine Peace Process
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floors4u.eu


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12 Hours of Sebring GTLM Title Proves Elusive for Ford Chip Ganassi Racing
dirk_2a8eye7t März 18, 2018
• 12 Hours of Sebring GTLM title remains elusive after Ford Chip Ganassi Racing finishes p4, p9
• No. 67 team mounted incredible comeback effort to place just off podium
• On-track incident and electrical issue put both teams laps down in the race after running near the front early in the race
SEBRING, Fla., March 17, 2018–It seemed as if the GTLM title at the 12 Hours of Sebring was finally within Ford Chip Ganassi Racing's grasp, but that win will remain a goal for yet another year. It wasn't for lack of trying.
After the team led three of the four practice sessions early in the week, the No. 67 was leading the category when, with three hours, 45 minutes left to go, a short in the Ford GT's headlights caused the team to pit off-cycle to check it out. The team, led by drivers Richard Westbrook, Ryan Briscoe and Scott Dixon, refused to give up and fought back into podium position by the end of the race with a hard-charging Briscoe behind the wheel. The No. 67 ultimately finished fourth, earning crucial points toward the IMSA WeatherTech SportsCar Championship standings.
"It was a long, hard race," Briscoe said. "I thought our car just got better and better as the race went on which was good, since it was tough at the beginning. I thought we were really competitive at the end, unfortunately that issue with the headlights at the end of Rick's stint lost us our track position. I think that really threw it for us. We just couldn't get back to the front from there. We clawed back past a few cars at the end. I think we'll take a fourth place after that and keep moving forward."
Westbrook started the No. 67 at p4.
"We had a great car and were in the final hours within striking distance. It was just an odd thing really," Westbrook said. "The headlights started shorting out, there was smoke in the cockpit and I heard something in the engine. I thought immediately something was wrong with the power, but it ended up being an electrical issue we were able to resolve on the following stop. It's a shame we lost that time dealing with the issue when we were in such good shape."
The No. 66 faced a different challenge entirely, at least at first.
Four-and-a-half hours into the race, the No. 66 was damaged on the restart after the race's second full-course yellow. A car stalled in front of driver Dirk Müller, causing a chain reaction that sandwiched the Ford GT he shares with Joey Hand and Sébastien Bourdais. While the team was forced to send the No. 66 behind the wall to fix the damage done, the car rejoined the race 10 laps down. It eventually retired with under an hour to go.
"We had started the race and things were going well," Müller said. "The car felt good and I felt good on the restart, but a lot of cars had to check up all at once and what happened next ends up happening a lot in these situations. We got hit from behind and our race got destroyed. We got punted from behind and had a ton of damage which sent us behind the wall. I know it wasn't on purpose but that put us down over 10 laps and you can't recover from that."
Hand started the race from p5.
Round three of the championship takes place April 14, when the series heads to the Long Beach Grand Prix in California.
Chip Ganassi Racing Ford IMSA No Comments
Ford Chip Ganassi Racing Hungry for Win at Sebring
Frohe Weihnachten Merry Christmas from the Müller family https://t.co/oOGpyX8Yxg26 days ago
You guys gave it all and that's what we showed the world! We went like hell! Thanks for all the support from our fa… https://t.co/3xQkv3b20K29 days ago
It's time to say good bye! What a great journey it has been over the last 4.5 years. We made history!!! I'm extreme… https://t.co/gmhB7Keehp29 days ago
Frohe Weihnachten 🎄 Merry Christmas 🎁 from t
It's time to say good bye! What a great journey
Thanks so much my love❤ #bestfamily #bestfrie
Hier ein paar Impressionen von unserem 5. Platz au
A solid P5 and great fun @vln_de 9 Tough start fro
VLN 9 is calling 🔥😃👊🏻 Happy to be back
Thanks @bellracinghq and @brettkingdesign for thes
We made history👊 I'm incredibly proud to be
Raceday👊 One more time #golikehell 🙏 fans/ #
So proud and honored to be part of this family. We
Let's go and win again 👊#66fordgt
Victory 🏆 in Laguna Seca👊 YES baby, it feels
Winner Winner Chicken Dinner!!! P1 baby 👊 #chip
P2 ✅ We will give it all tomorrow 👊
Practice 1-2 ✅ Practice 3 and Qualifying today
Dirk Müller Racing updated their profile picture.
Dirk Müller Racing ... See MoreSee Less
Dirk Müller Racing
Frohe Weihnachten 🎄 Merry Christmas 🎁 from the Müller family 🥂 ... See MoreSee Less
It's time to say good bye!
What a great journey it has been over the last 4.5 years. We made history!!!
I'm extremely honored and proud to be part of this great family. I like to thank every single person on this program for what they have done. You guys gave it all and that's what we showed the world! We went like hell! Thanks for all the support from our fans! See you soon and some great news from my side will be out soon! Merry Christmas and Happy New Year, Dirk ... See MoreSee Less
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France remain the Olympic champions in the men's competition. After a thrilling and nail-biting final against Sweden, the 'Marseillaise' national anthem was played for them just as in 2008 in Beijing after they had received their gold medals in an 'Usain-Bolt' winning pose.
Sweden won their fourth Olympic silver medal after the close 22-21 defeat in the final on Sunday.
Key player for France was again Thierry Omeyer, who was the tournament's best goalkeeper with overall 94 saves in eight matches. Best French scorer in the final was Michael Guigou with five goals.
Ahead of the final Croatia won their first bronze medal at Olympic Games by beating Hungary in the 3/4th placel match, 33-26.
Just as in the Beijing 2008 Olympic Games, France won the gold medal in the men's competition and but at London 2012 the Frenchmen had to wait until the final seconds of a nail-biting final, before they won their second Olympic gold.
Their opponents, Sweden, fought bravely until the final buzzer, but earned their fourth Olympic silver medal after being defeated on Sunday (12 August) in the Basketball Arena in a real thriller 22-21 (10-8).
Just 40 seconds before the final buzzer, Luc Abalo decided the match, scoring to put his side up 22-20. Swede, Niclas Ekberg scored six times and with it, became top scorer of the competition with 50 goals, one goal ahead of Ivan Cupic.
10 of the 14 French players celebrated their second Olympic gold medal in a row, and Swedish coaches Staffan Olsson and Ola Lindgren now have a fourth silver medal, this time as coaches.
For the first time since 1992 both men's and women's handball champions have defended their gold medals, with Norway crowned champions on Saturday (11 August) in their final against Montenegro.
Even the attendance of Swedish King Carl Gustav could not push the Swedish team to their first-ever gold medal. The Scandinavians were on an equal level for a lot of the match; in the first half (which finished 10-8 in favour of France) and in the second half where France were pegged back from going too far ahead thanks to the aggressive Swedish defence and extraordinary goalkeeper Johan Sjostrand.
Sweden were perfectly tactically prepared against their final opponents, supported by thousands of their supporters in the stands.
Celebrated French goalkeeper Thierry Omeyer kept the Swedes at bay, saving 11 shots in total - just like he did in the 2008 final against Iceland, and with them took his competition total to 94 shots in eight matches. This confirmed his title as the best goalkeeper at London 2012, further confirmed by his well-deserved place in the London 2012 Olympic all-star team, just as in 2008.
It was the fifth major title for the French team since 2008. They have been Olympic champions twice (2008, 2012), world champions twice (2009, 2011) and European champions (2010) once, but the London 2012 final was the last big match for the current French squad as a large number of players will retire from the national team with a gold medal around their necks.
Coach Claude Onesta (FRA): "Beijing 2008 was about us winning the Olympic gold after years of trying and people expecting us to add that gold medal to our collection. It was the only one we had not won. So it was relief to get it four years ago. This triumph here in London is totally different. It was a situation where we had an old team of players who wanted to show everyone who doubted them that they were still able to be Olympic champions. That they still had the ability and skills to win an Olympic gold. And, I am delighted to say, they certainly did just that. They showed they were not too old or finished.
"We had a poor European championships where we could not find any rhythm or form. Therefore people started to doubt us. But the whole team worked so hard in preparing for this competition for months and months. "I always believed in my players. I always believed that they still had one more excellent big competition in them, and that they could rise to the occasion here. So I am so happy for all of them, and the fans who came here to support us so noisily."
Player Jerome Fernandez (FRA): "This is the most beautiful day in my life. But now it is so hard to think how we can ever repeat this. How will be follow this up and do it again in four years time? I am so proud of my team because for eight weeks we have worked really hard and prepared so well to give our best effort here. We have won another title and it feels so fantastic."


A few of my favorite rescued and shelter dog designs on t-shirts, buttons, magnets and more. All rescued dog design choices are available on all the apparel types shown and more.
Choose from a variety of center images or customized with your own image.
Click on "customize" to substitute your own center image.


text:
Q: Variable not available outside function I'm having difficulties understanding the following example I created.
The variable glob_var gets changed inside the test() function, but the original value remains outside of the function:
test() {
  read var
  glob_var=$var
  echo '$glob_var in test(): '$glob_var
}

glob_var='org'
echo '$glob_var start: '$glob_var
echo new | test
echo '$glob_var end: '$glob_var

Output
$glob_var start: org
$glob_var in test(): new
$glob_var end: org

I'm suspecting that the pipe starts a new process. If that's the case, what would be an alternative way to retrieve values from the test function?


text:
var Draw = (function () {
  var setup = function() {
    //Set up some globals
    var pixSize = 4, lastPoint = null, currentColor = "000", mouseDown = 0;

    //Create a reference to the pixel data for our drawing.
    var pixelDataRef = new Firebase('https://intense-fire-3380.firebaseio.com/draw'+ FirebaseModule.getRoom());

    // Set up our canvas
    var myCanvas = document.getElementById('drawing-canvas');
    var myContext = myCanvas.getContext ? myCanvas.getContext('2d') : null;
    if (myContext == null) {
      alert("You must use a browser that supports HTML5 Canvas to run this demo.");
      return;
    }

    //Setup each color palette & add it to the screen
    var colors = ["HAND", "ERA", "000","f00","0f0","00f","f05","f80","cf0","08f","408", "fff"];
    for (c in colors) {
      if (colors[c] === "HAND") {
        console.log(colors[c]);
        var item = $('
').css("background-color", '#fff').addClass("colorbox").addClass("hand");
      } else if (colors[c] === "ERA") {
        var item = $('
').css("background-color", '#fff').addClass("colorbox").addClass("eraser");
      } else {
      var item = $('
').css("background-color", '#' + colors[c]).addClass("colorbox");
      };
      item.click((function () {
        var col = colors[c];
        return function () {
          pixSize = 4;
          currentColor = col;
        };
      })());
      item.appendTo('#colorholder');
    }

    $('.hand').append("");

    myCanvas.onmousedown = function () {mouseDown = 1;};
    myCanvas.onmouseout = myCanvas.onmouseup = function () {
    mouseDown = 0; lastPoint = null;
    };
    $(myCanvas).touchstart(function() {mouseDown=1;});
    $(myCanvas).touchmove(function() {mouseDown=1;});
    $(myCanvas).touchleave = $(myCanvas).touchend(function() {
    mouseDown = 0; lastPoint = null;
    });

    var useEraserBrush = function(x0, y0){
        pixelDataRef.child(x0 + ":" + y0).set(null);
        pixelDataRef.child((x0+1) + ":" + (y0+1)).set(null);
        pixelDataRef.child((x0+1) + ":" + y0).set(null);
        pixelDataRef.child((x0+1) + ":" + (y0-1)).set(null);
        pixelDataRef.child(x0 + ":" + (y0+1)).set(null);
        pixelDataRef.child(x0 + ":" + (y0-1)).set(null);
        pixelDataRef.child((x0-1) + ":" + (y0+1)).set(null);
        pixelDataRef.child((x0-1) + ":" + y0).set(null);
        pixelDataRef.child((x0-1) + ":" + (y0-1)).set(null);
      };

    //Draw a line from the mouse's last position to its current position
    var drawLineOnMouseMove = function(e) {
      if (!mouseDown) return;
      if (currentColor === "HAND") return;
      e.preventDefault();
      //Checks to see whether the event is a touch or mouse event and assigns e
      //to ensure that e.pageX/e.pageY can be accessed.
      e = (e.type === "touchstart"|| e.type === "touchmove") ? e.originalEvent.changedTouches[0] : e;
      // Bresenham's line algorithm. We use this to ensure smooth lines are drawn
      var offset = $('canvas').offset();
      var x1 = Math.floor((e.pageX - offset.left) / pixSize - 1),
        y1 = Math.floor((e.pageY - offset.top) / pixSize - 1);
      var x0 = (lastPoint == null) ? x1 : lastPoint[0];
      var y0 = (lastPoint == null) ? y1 : lastPoint[1];
      var dx = Math.abs(x1 - x0), dy = Math.abs(y1 - y0);
      var sx = (x0 < x1) ? 1 : -1, sy = (y0 < y1) ? 1 : -1, err = dx - dy;
      while (true) {
        //write the pixel into Firebase, or if we are drawing white, remove the pixel
        if(currentColor != "ERA"){
          pixelDataRef.child(x0 + ":" + y0).set(currentColor === "fff" ? null : currentColor);
        } else useEraserBrush(x0, y0);
        if (x0 == x1 && y0 == y1) break;
        var e2 = 2 * err;
        if (e2 > -dy) {
          err = err - dy;
          x0 = x0 + sx;
        }
        if (e2 < dx) {
          err = err + dx;
          y0 = y0 + sy;
        }
      }
      lastPoint = [x1, y1];
    };

  $(myCanvas).mousemove(drawLineOnMouseMove);
  $(myCanvas).mousedown(drawLineOnMouseMove);
  $(myCanvas).touchmove(drawLineOnMouseMove);
  $(myCanvas).touchstart(drawLineOnMouseMove);

    // Add callbacks that are fired any time the pixel data changes and adjusts the canvas appropriately.
    // Note that child_added events will be fired for initial pixel data as well.
  var drawPixel = function(snapshot) {
      var coords = snapshot.name().split(":");
      myContext.fillStyle = "#" + snapshot.val();
      myContext.fillRect(parseInt(coords[0]) * pixSize, parseInt(coords[1]) * pixSize, pixSize, pixSize);
  };
  var clearPixel = function(snapshot) {
      var coords = snapshot.name().split(":");
      myContext.clearRect(parseInt(coords[0]) * pixSize, parseInt(coords[1]) * pixSize, pixSize, pixSize);
    };
    pixelDataRef.on('child_added', drawPixel);
    pixelDataRef.on('child_changed', drawPixel);
    pixelDataRef.on('child_removed', clearPixel);
  };

  return {
    setup: setup
  }
})();