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Q: Using Slick with Kudu/Impala Kudu tables can be accessed via Impala thus its jdbc driver. Thanks to that it is accessable via standard java/scala jdbc api. I was wondering if it is possible to use slick for it. Or if not is any other high level scala db framework supporting impla/kudu.

A: Slick can be used with any JDBC database
http://slick.lightbend.com/doc/3.3.0/database.html

A: At least, for me, Slick is not fully compatible with Impala Kudu. Using Slick, I can not modify db entities, can not create, update or delete any item. It works only to read data.

A: There are two ways you could use Slick with an arbitrary JDBC driver (and SQL dialect).
The first is to use low-level JDBC calls. The SimpleDBIO class gives you access to a JDBC connection:
val getAutoCommit = SimpleDBIO[Boolean](_.connection.getAutoCommit)

That example is from the Slick manual.
However, I think you're more interested in working at a higher level than that. In that case, for Slick, you'd need to implement a custom Profile. If Impala is similar enough to an existing database profile, you may be able to extend an existing profile and adjust it to account for any differences. For example, this would allow you to customize how SQL is formatted for Impala, how timestamps are represented, how column names are quoted. The documentation on Porting SQL from Other Database Systems to Impala would give you an idea of what needs to change in a driver.

Or if not is any other high level scala db framework supporting impla/kudu.

None of the main-stream libraries seem to support Impala as a feature. Having said that, the Doobie documentation mentions customising connections for Hive. So Doobie may be worth quickly trying Doobie to see if you can query and insert, for example.

redpajama_set_name: RedPajamaStackExchange


text:
Browse 552 results
Subfonds: Audiovisual material
Subfonds: GSA student material
Subfonds: Glasgow School of Art, Renfrew St, Glasgow
Subfonds: Photographs
Subfonds: Records of GSA Enterprises
Subfonds: Records of the Director of the Glasgow School of Art
Collection: Alastair Shanks notes from The Art Course for Primary Teachers
Collection: Anonymous sketchbook, Glasgow School of Art, Scotland
Collection: Architecture Postcards belonging to William B F Williamson, student at The Glasgow School of Art, Scotland
Collection: Art, Design and Architecture collection
Collection: Artwork by Andrew Allan, lithographic artist and student at The Glasgow School of Art, Scotland
Collection: Colin D A Porteous Collection - Easthall Solar Demonstration Project
Collection: Colin D A Porteous Collection - North Sun Conferences
Collection: Embroidered and Woven Textile Collection, Glasgow School of Art
Collection: Fashion Illustrations and associated Press Cuttings by Margaret Oliver Brown
Collection: Hugh Ferguson Notebooks
Collection: Lecture Notes from Scottish Architect James Salmon
Collection: Lectures by Francis Lorne
Collection: Letter of congratulations to The Glasgow School of Art from John Byrne, artist
Collection: Material relating to former GSA student, Kenneth Murray Fraser
Collection: Minutes of GSA Magazine Folio
Collection: Notes of James McIntosh Patrick, artist and student at The Glasgow School of Art, Scotland
Collection: Paisley Shawl Designs
Collection: Paisley Shawl Designs II
Collection: Pamphlet from the Glasgow Art Club Jubilee Dinner, Glasgow, Scotland
Collection: Papers and photographs of Holmes Gray, student at the Glasgow School of Art, Scotland
Collection: Papers and textiles of Sylvia Chalmers
Collection: Papers belonging to William Drummond Bone, student and member of staff at The Glasgow School of Art, Scotland
Collection: Papers of Andrew Samuel, architect and student at The Glasgow School of Art, Scotland
Collection: Papers of Christine Shaw, student at The Glasgow School of Art, Scotland
Collection: Papers of Conrad McKenna, student and staff member at The Glasgow School of Art, Scotland
Collection: Papers of Dorothy Campbell Smith, student at The Glasgow School of Art, Scotland
Collection: Papers of Garcia Hunter, student at The Glasgow School of Art, Scotland
Collection: Papers of Henry Young Alison, artist and Interim Director of The Glasgow School of Art, Glasgow, Scotland
Collection: Papers of James Black Fulton, architect, student at The Glasgow School of Art, Scotland, and Director of The Glasgow School of Architecture, Scotland
Collection: Papers of Jane Richards and Fiona Jean Paton, students of The Glasgow School of Art
Collection: Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Collection: Papers of John Hinshelwood, architect and student of The Glasgow School of Art, Scotland
Collection: Papers of John Walter Lindsay, architect and student of the Glasgow School of Art
Collection: Papers of Kath Whyte, Head of Embroidery at Glasgow School of Art, Scotland
Collection: Papers of Liz Arthur relating to Robert Stewart, artist and designer
Collection: Papers of Margaret Elizabeth Galt, student of Glasgow School of Art, Scotland
Collection: Papers of William R Hunter
Collection: Papers of the Anderson family, students at The Glasgow School of Art, Scotland
Collection: Papers of the Ballantine family, students at The Glasgow School of Art, Scotland
Collection: Photographs of George Paterson, student at the Glasgow School of Art, Scotland
Collection: Plaster Casts
Collection: Presscuttings book belonging to Archibald McGlashan, student at The Glasgow School of Art, Scotland
Collection: Records and textiles of the Needlework Development Scheme
Collection: Records of The Glasgow School of Art Club
Subfonds: Ephemera collection
Subfonds: Newspaper cuttings
Subfonds: Records of Information Services
Subfonds: Records of the Academic Council
Subfonds: Records of the Assistant Director and Company Secretary
Subfonds: Records of the Board of Governors
Subfonds: Records of the Board of Studies
Subfonds: Records of the Continuing Education Department
Subfonds: Records of the Deputy Director
Subfonds: Records of the Design School
Subfonds: Records of the Development and External Relations Office
Subfonds: Records of the Estates Department
Subfonds: Records of the Exhibitions Department
Subfonds: Records of the Finance Officer
Subfonds: Records of the First Year Studies Department
Subfonds: Records of the Liberal Studies/Historical and Critical Studies Department
Subfonds: Records of the Personnel Office
Subfonds: Records of the Planning Department
Subfonds: Records of the Registrar
Subfonds: Records of the School Council
Subfonds: Records of the School of Architecture
Subfonds: Records of the School of Fine Art
Subfonds: Records of the School of Simulation and Visualisation
Subfonds: Records of the Secretary and Treasurer
Subfonds: Records of the Senior Management Group
Subfonds: Records of the Staff Council
Collection: GSA Undergraduate Fashion Show
Collection: Oral History Recordings
Collection: Records of The Glasgow School of Art, Glasgow, Scotland
Series: Annual Reports
Series: Architecture student records
Series: Continuing Education Prospectuses
Series: Correspondence and Working Papers
Series: Day Books
Series: Glasgow School of Art Foundational and Legal Documents
Series: Inventories and Insurances
Series: Minutes
Series: Planning Documents
Series: Poster collection
Series: Property Records
Series: Records relating to Belgium Tryst Fund
Series: Records relating to Glasgow School of Art Exhibition of Ancient and Modern Needlecraft, 1916
Series: Registers of attendance
Series: Reporting Documents
Series: Reporting and Reviews
Series: School Committee and Finance Committee requirements book
Subseries: Agreements with other institutions and individuals
The Glasgow School of Art has its origins in the Glasgow Government School of Design, which was established on 6 January 1845. The Glasgow Government School of Design was one of twenty similar institutions established in the United Kingdom's manufacturing centres between 1837 and 1851. Set up as a consequence of the evidence given to the House of Commons Select Committee on Arts and their connection with Manufactures of 1835-1836, the Government Schools hoped to improve the quality of the country's product design through a system of education that provided training in design for industry. Somerset House was the first of such schools to be established, opening in 1837, and others followed throughout the provinces.
In 1853 the Glasgow Government School of Design changed its name to the Glasgow School of Art. Following the receipt of some funding from the Haldane Academy Trust, (a trust set up by James Haldane, a Glasgow engraver, in 1833), The Glasgow School of Art was required to incorporate the name of the trust into its title. Consequently, it became the Glasgow School of Art and Haldane Academy, although by 1891 the "Haldane Academy" was dropped from the title. Glasgow School of Art was incorporated in 1892. In 1901 the Glasgow School of Art was designated a Central Institution for Higher Art Education in Glasgow and the West of Scotland.
Initially the School was located at 12 Ingram Street, Glasgow, but in 1869, it moved to the Corporation Buildings on Sauchiehall Street, Glasgow. In 1897 work started on a new building to house the School of Art on Renfrew Street, Glasgow. The building was designed by Charles Rennie Mackintosh, former pupil of The Glasgow School of Art. The first half of the building was completed in 1899 and the second in 1909.
The Government Schools ran courses in elementary drawing, shading from the flat, shading from casts, chiaroscuro painting, colouring, figure drawing from the flat, figure drawing from the round, painting the figure, geometrical drawing, perspective, modelling and design. All these courses were introduced from the start at the Glasgow School apart from that of design. The course in design was the "summit of the system" where students came up with original designs for actual manufactures or decorative purposes and it was not until 1849, when Charles Heath Wilson became headmaster, that classes in design began to be taught. Also in this year Bruce Bell was engaged to teach mechanical and architectural drawing.
After 1853 the above pattern of courses was extended to 26 stages which formed the national curriculum for art schools. This system was known as the South Kensington system. An Art Masters could be awarded by gaining certificates in the available subjects. There was no restriction on entry and students could take as long as they wished to accumulate their passes before being awarded their Art Masters.
In 1901 the Glasgow School of Art was given the power to award its own diplomas. In the same year Art 91D classes for day school teachers commenced which were later known as the Art 55 classes. From 1901 to 1979 the School of Art awarded its own diplomas and thereafter it awarded degrees of the Council for National Academic Awards. In the 1970s the School of Fine Art and the School of Design were established. With the demise of the Council for National Academic Awards, from 1993 Glasgow University awarded the School's degrees in fine art and design. In 1885 the Glasgow School of Art taught architecture and building construction conforming to the South Kensington system. Following on from the designation of the School as a Central Institution and the empowerment of the School to award its own diplomas, the School and the Glasgow and West of Scotland Technical College worked together to produce a curriculum for a new course leading to a joint diploma.
In 1903 the joint Glasgow School of Architecture was established within the Glasgow School of Art in conjunction with the Glasgow and West of Scotland Technical College. For the new diploma design classes were to be taught at the School of Art and the construction classes at the Glasgow and West of Scotland Technical College. The first diplomas in architecture were awarded in 1910.
In 1924 the Glasgow School of Art became a university teaching institution when the University of Glasgow set up a BSc in Architecture which was to be taught at the School of Architecture. In 1964 the Royal College of Science and Technology (formerly the Royal Technical College, formerly the Glasgow and West of Scotland Technical College) merged with the Scottish College of Commerce to form the new University of Strathclyde. Following the merger the Glasgow School of Architecture came to an end, the last students transferring to Strathclyde degrees and graduating in 1968.
In 1970 the Mackintosh School of Architecture was established. It is housed within the Glasgow School of Art and forms that school's Department of Architecture. Its degrees are accredited by the University of Glasgow and its Head is the University's Professor of Architecture.
The Glasgow Government School of Design was originally managed, as were the other Government Schools, by the Board of Trade and a Committee of Management representing local subscribers. Then, in 1852, the Government Schools of Design were taken over by the Department of Practical Art. This Department was renamed the Department of Science and Art in 1853 and was located in South Kensington, London. The Committee of Management was replaced in 1892 by the Board of Governors. In 1898, control of the School was transferred again, this time to the Scotch Education Department (renamed the Scottish Education Department in 1918).
The School became academically independent in 1901 when it was free to develop its own curriculum and its own diplomas, subject to the approval of the Scottish Education Department. The chief executive of the School was the Headmaster, renamed Director in 1901, and a Secretary and Treasurer was responsible for all aspects of the administration of the School. As the School grew, other administrative posts were added.

redpajama_set_name: RedPajamaCommonCrawl


text:
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Duke Energy appeals civil penalty, requesting treatment consistent with the law and other companies
CHARLOTTE, N.C. -- Duke Energy today issued the following statement in connection with the company's appeal, before the Office of Administrative Hearings, of a $6.6 million civil penalty issued by the North Carolina Department of Environmental Quality (NCDEQ) on Feb. 8, 2016, related to the Dan River incident in 2014.
Clearly, our company is accountable for the Dan River incident and we recognize the state's right to issue an appropriate penalty in a situation like this.
This appeal requests that Duke Energy be treated in a manner that is fair and consistent with the law and other North Carolina companies.
The health of the Dan River
Multiple federal and state agencies have been closely studying the Dan River.
No physical impacts to fish or aquatic life have been observed to date.
The EPA stated it does not believe human health was affected by the ash release.
Within weeks of the incident, researchers from NC State University determined the river was safe for irrigation and livestock use.
Duke Energy and regulators from NC and Virginia continue monitoring the river to identify any potential long-term effects.
About Duke Energy
The Duke Energy News Center serves as a multimedia resource for journalists and features news releases, helpful links, photos and videos. Hosted by Duke Energy, illumination is an online destination for stories about remarkable people, innovations, and community and environmental topics. It also offers glimpses into the past and insights into the future of energy.
Follow Duke Energy on Twitter, LinkedIn, Instagram and Facebook.
North Carolina, South Carolina, Environment


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The Kallipolitan
By Gabriel Zultanic
The last time we did an issue about cities, three Kallipolitan staff members — Anders, Antonio, and myself — travelled together to three different cities, Vienna-Austria, Luanda-Angola, and Paramaribo-Suriname. We knew we could not do another issue dedicated to our unbridled love of cities without another trip. This time around, the entire staff travelled, but instead of one city we chose to roam across the Welsh countryside and take in two major cities, Cardiff and Swansea. As with the last trip, we did not do regular tourist stops, we only aimed to experience the intricacies that make up the totality of Wales.
Cardiff is a symbiotic city; it is as rewarding for its citizens to live there as it is for the city have to such wonderful citizens. It may be an odd comparison but to me Cardiff is a European Jerusalem. It is sprawling and ancient, it is a place with a lot of history and personal meaning for anyone who comes through here. The city is beaming with antiquity, yet it is not brittle from time; in fact it is utterly riveting and completely thriving. Castles, theatres, stadiums, and gardens aside, the part of Cardiff I fell completely in love with was its streets. Walking down the street you see a plethora of colours, smell a bouquet of aromas, and take in an assortment of architectural styles. And all of it is wrapped in a pragmatic varnish that makes the city so utterly delightful even to an idealist like me.
Swansea is a remarkable city. The sun does not always make an appearance from behind the clouds here; however the city shines without the sun. Swansea is a city so beautiful that sunshine is optional. I particularly enjoyed the University, where Welsh proved to be a much more difficult yet fascinating challenge. Swansea's official language may be Welsh but it ought to be smiling. Under gloomy skies it was tough to find a gloomy face, whether in a restaurant, on the street, or watching surfers on the secluded beaches not far from the city, smiles were aplenty everywhere in Swansea.
But to discuss only Cardiff and Swansea, as amazing as they are, would be an injustice to Wales. Wales has a lot more than just two amazing cities. The countryside is an amalgamation of windswept beaches and fertile hills adorned with ample greenery. Pull by the side of the road and take a walk and you will become an instant part of an audience to the symphony of life taking place all around you, as it has for millennia. Lighthouses on rocky shores and thick forests, the Welsh countryside is right out of a fairytale. And its cities are right out of a contemporary utopian case studies textbook. Sitting by a rock-fence to a sheep farm, listening to the animals, birds, the philosophical arguments amongst my friends and colleagues, while we ask a local for directions, I realize Wales is a paradox. And just like humanity it is a loveable and spellbinding paradox, one that I will take with me wherever I go from now on.
A. Douglas Svensson
Ahmed Latif
Antonio Mosquera
Gabriel Zultanic
Kamran Dadi
Kareem Abdurazag
Madeleine Caprosz
Maiy Latif
Osvaldo G. Turco
Rahman Ismail
Toshiro Diggs
Zurab Andronikashvili


One World: sustainable fashion from us. It's a unique item – we couldn't make exact same one even if we wanted to. It has an unique color, mood and shade – this matching set was made using neoprene scraps, so we don't pollute the environment. One.Black Skirt Suit: pullover and pencil skirt. You can wear it together as a suit or separately creating different styles. This skirt suit has its special tag – it says who made it. We wanted to show that Zefyras' clothing is handmade and we care to introduce you to the person who made it specially for you.
You can choose a color of your choice and it can be made specially for you using your measurements.


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Tag: banjo
Black Sabbath – Paranoid
I avoided this album for a long time on purpose. All the metalheads I knew were the most boring people to discuss music with. People whose musical world consists of Ed Sheeran, Rihanna and Coldplay are much better. At least they wouldn't be afraid of the occasional bass drop or rap verse. Metalheads were so dull, generic and stupid that I couldn't imagine their music to be any good. Dull, generic and stupid people probably listen to dull, generic, and stupid music.
It's a hard album to avoid though. It haunted me like whatever's haunting the protagonist in the title-track. It's especially hard when you're into Stoner Rock, and consider Monster Magnet to be one of rock's greatest achievements. Eventually, I caved in and wondered why no one told me about how this record sounds sooner.
It sounds as influential as you heard it is. If you're into the slower genres, its influence is more apparent. More than the birth of Heavy Metal, it sounds like the birth of Stoner. Sneak "Electric Funeral" in a playlist full of Electric Wizard, Sixy Watt Shaman and Kyuss and no one would notice the band playing it is from the 70's. What's far more interesting though, is that it doesn't sound like a heavy metal record at all.
After playing some doomy riffs, Ozzy sings with that very familiar way of stretching syllables. I completely forgot that between the verses there are distorted guitars. By the time they turn it down again and Ozzy does his thing, I had to admit this doesn't have that much to do with Heavy Metal. Paranoid is, at its heart, an American Folk record. It owes more to Dock Boggs and Blind Willie than anything. It's a reinterpartation of the genre.
The reason it still sounds as brilliant today – aside from containing great melodies – is that Sabbath understood their source material better than anyone else. Death was a day-to-day reality in the Old Weird, but try to listen to "Oh, Death" again. It's such a different era. It sounds alien and scary. Folk music wasn't easygoing, but looked at tough subject matters in the eye.
Led Zeppelin tried to made a theater of it all. They tried to make big, loud music out of a genre that gained its strength from a banjo pluck and one powerful line. They worked against the style they're interpartating. They turned up the volume and exaggerated everything, but it never had the emotional punch.
Sabbath knew that Folk Music was very dark. All they did was enhance the darkness with distortion, and some drums. How different is "Hand of Doom"'s lyrics to Dock Boggs' "Oh, Death" or "Country Blues"? Ozzy may have been more opaque and updated his subject matter to nuclear apoclypse and sci-fi, but he didn't work against the genre. The addiction he talks of in "Hand of Doom" is the same alcoholism folk singers been singing about. The title-track has a higher tempo, but the lyrics are the same thing as "Man of Constant Sorrow".
Even "Planet Caravan" fits the concept. It's weird and sparse, which is how folk music sounds like today. The Old Weird now looks like an alien planet to us, so actually singing about space travel makes sense. It's far more deserving to be called Space Rock than anything by Pink Floyd. Pink Floyd's songs sounded like they had space, but didn't express what outer space felt like. Leaving planet Earth must be a pretty intense emotional experience. "Planet Caravan" has the wonder, the loneliness and the vastness of space in one song. The vocal effects are a brilliant touch.
People who are into guitars probably already own this. It will be forever considered a pioneering Heavy Metal record, but it will also always stand above the genre. Is there any follower of Black Sabbath that tried to replicate this album's purpose? Most bands borrowed Black Sabbath's noise and darkness. None of them were familiar with folk music and why it works, not even bands from that era. Even Monster Magnet, one of the greatest rock bands ever took a very different direction.
4 paranoids out of 5
Author The Brain in the JarPosted on August 6, 2015 Categories music, reviewTags album, album review, american folk music, apocalypse, banjo, black sabbath, country, death metal, dock boggs, electric wizard, folk, folk rock, heavy metal, iron maiden, metal, monster magnet, occult, ozz osburne, sci fi, science fiction, sixty watt shaman, stoner metal, stoner rockLeave a comment on Black Sabbath – Paranoid


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I am not sure anyone saw such a good 2013 coming with the headwinds we faced at the beginning of the year when we endured the largest tax hike, a sequestration, a D.C. argument about the fiscal cliff and risked default on our debt service, a possible war in the Middle East along with the attack in Benghazi, and finally a government shutdown.
At this time last year many economists predicted a 2013 recession, while I laid out an argument that the market would have a good year. As we begin 2014, I find myself in the same position again.
Many argue that stocks must retreat, because they are up over 100% since March of 2009. Others argue that we must have a decline since there was no decline of 10% or greater since 2012. Still others argue there will be a decline due to the Fed's eminent tapering of quantitative easing, reducing the "free money" and causing long-term interest rates to rise.
I want to address each of these and then tell you where we see the most likely opportunities, risks, and scenarios unfolding in the next twelve months.
First, the markets do not have to do anything simply because they have not done so in a while and they do not have to change with the calendar. Sure, there are some who will sell in early January to book gains in which taxes are deferred until April of 2015. That is a short-term occurrence – not a "January effect".
As for this bull market lasting almost five years now with a gain from the low of over 100%, that too means nothing. If we go back ten years, neither the bottom of the NASDAQ crash or the top of the recovery, we find that just a 7% average annual gain in the index would rest it well over 2200 today, a 20%+ gain from today's 1837. Not that this should mean any more than the previous, but rather to demonstrate that when one plays with numbers, a mathematician can take either side and make a case.
What really matters is the fact that the U.S. economy and the economies of most nations are growing. Many are growing at plow horse speed, but they are growing and show many positive signs. Jobs reports have been coming in at decent and growing numbers while the ISM (Manufacturing sentiment index) has risen for seven straight months, and energy prices, due to fracking, are now dropping and we expect they will continue to decline. Lower energy prices adds real dollars to the economy as money not spent at the pump is available for other endeavors. Lower energy costs also make our manufacturers more competitive on a global basis, adding jobs here at home.
Then there is that argument about rising interest rates due to the Fed tapering (reducing the amount of monthly money printing and the subsequent purchase of long-term Treasury bonds). They argue that rising interest rates will cause both bonds and stocks to decline. I agree with the bond half of that argument. There is no doubt that higher interest rates make lower paying bonds worth less. Who wants to buy a 4% CD or bond if the new rate is 5%, unless of course you get quite a discount on the purchase of the lower yielding CD or bond? But that certainly does not apply to stocks at these rates or at this time. This is what has happened since May of last year when the 10-year Treasury was yielding 1.6%. Since then, the yield has almost doubled to 3%, yet the S&P 500 gained over 15% during the same period.
Most corporations are flush with cash – they have retained earnings after years of reduced capital investment. And the vast majority of the debt they carry has been refinanced at very low interest rates, for five, ten or even thirty years. There is little need to borrow again anytime soon so slightly higher interest rates will not have much, if any, effect on returns.
As for the Fed's slow withdrawal of liquidity, first it is excess liquidity not being utilized and second it is excess liquidity not being utilized (emphasis). See the Federal Reserve chart on the left which shows the near exact correlation of the adjusted monetary base (all the money in the system) and the M2 money supply (bank loans) until the Fed began QE 1, 2, and 3 (blue line) while banks continued to lend at the same 6% to 7% annual growth rate. It is not that banks are not lending, they just have not kept up with the Fed's 30% per year growth. What happened is the Fed created money (Quantitative Easing) and injected it into the system via the purchase of U.S. Treasury bonds and the purchase of mortgage-backed securities, but the banks did not use that excess. Hence, I see no reason there should be a hit to the economy when this money is withdrawn, if in fact it ever is. Tapering just means that the Fed will grow the Monetary Base at a slower rate, it does not deal with the excess money still available. It is important to remember that profits, not central banks, drive the stock market higher.
I believe there is a good chance that should the Fed announce another taper of $10 Billion per month after the FOMC meeting at the end of this month (from $85B/mo. to $75B in December and down to $65B at the end of this month), there will likely be several market reactions. The most prevalent will likely be a strengthening of the dollar and another hit to bonds, as the long yields will likely rise. This will likely cause gold to retreat from its recent $1240/ounce range and emerging markets will probably take a hit as the carry trade further unwinds (traders who borrow at low rates here and invest at higher rates in emerging economies). They get hit by both increased rates here and a dollar that strengthens against the currency of the country in which they invested.
After that settles, perhaps after a third taper at the March FOMC meeting, some emerging markets will very likely be very attractive, and perhaps, gold too. We have been developing our wish list of companies in various countries which are very attractive now and likely to be bargains after such events play out.
Well capitalized banks and insurance companies should benefit in a rising interest rate environment and airlines should continue to reap benefits from their recent mergers and declining fuel costs. We will continue to be invested in these until the landscape changes. Many biotech companies are nearing big paydays for breakthrough drugs and equipment, so we continue to find those and enlist some of the best analytical information available to help find them. We will also maintain our long position in the Japanese (Nikkei) market, combined with a short position on the yen.
There is also a pent-up demand for industrial and technology equipment as little has been invested in either over the past six years. Clean water technologies, social media companies with the ability to monetize their users, and transformational technology companies are just a few additional areas that offer opportunity. We continue to favor the picks and shovel companies in the energy sector (suppliers of drill bits, fracking materials, and pipe) while avoiding the big exploration companies which are hurt by the lower oil prices. Finally, there are many overseas growth companies, priced at very attractive valuations. We continue to add the European, Asian and some companies from Mexico. As mentioned above, there may be other opportunities abroad in the near future.
So, the opportunity is there, and at this moment I do not see any valid reason to fear it. We will continue to take a conservative approach while maintaining the goal of maximizing profits. Of course, we always maintain our ability to change our opinion if the facts change (as we have done so many times in the past).


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Q: Difference between Binary encoded AVRO v/s JSON encoded AVRO Based on the AVRO documentation, for binary encoded AVRO, i understand that there are 2 important aspects. One is the AVRO schema i.e: .avsc (which is represented in JSON) that describes the fields of the data and then there is the actual data that is binary encoded.
There is very little documentation on JSON encoded AVRO and so i am trying to understand if it follows the same semantics where we will have AVRO schema file in JSON format (i.e: .avsc file) followed by the payload which would be data encoded in JSON ? Or whether its just the payload alone which is JSON encoded completely where the value against each key is binary encoded ?
Trying to experiment with Python so any leads/sample code would help.
Thanks!

A: The binary and JSON encodings have to do only with the payload itself. For example, if you had a schema like this:
{
  "type": "record",
  "name": "test",
  "fields" : [
    {"name": "a", "type": "long"},
    {"name": "b", "type": "string"}
  ]
}

And you had a record whose a field has a value of 27 and whose b field has a value of foo then the binary encoding would be the following hex byte sequence:
36 06 66 6f 6f

Whereas the JSON encoding would simply be:
{"a": 27, "b": "foo"}

The binary format is much more compact, but of course the JSON format is much more readable.
When you talk about the semantics of having a schema and a payload encoded as one output, you are really talking about avro container files (https://avro.apache.org/docs/current/spec.html#Object+Container+Files) and those only use the binary encoding. There is no specification for a container file that uses the JSON encoding. An avro file can be parsed without any prior knowledge because the schema is baked into the file, but JSON encoded avro will always need the schema as an input since it is not baked into the result like an avro file is.
If you are using Python, the standard avro library doesn't support the JSON encoding as far as I know, but fastavro does. The docs for reading and writing are below:
https://fastavro.readthedocs.io/en/latest/json_reader.html
https://fastavro.readthedocs.io/en/latest/json_writer.html


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Katrina Kaif urges fans to help underprivileged children get quality education
Actor Katrina Kaif
New Delhi [India], December 22 (ANI): Actor Katrina Kaif on Tuesday urged everyone to come forward and contribute towards creating classrooms so that children coming from underprivileged homes can access quality English medium education.
Kaif who along with her mother has extended a helping hand to Mountain View School in Madurai, Tamil Nadu, which has actively been working towards educating children, especially girls, since 2015.
The 'Ek Tha Tiger' actor took to Instagram to share a video of the children from the Mountain View School.
As a part of the campaign by Relief Projects India, Katrina has urged her followers and fans to make a generous donation so that Mountain View School can continue its work towards proving quality education to underprivileged village children.
"So proud to present to you all the school built from the ground up by my mom and her charity. Since 2015, Mountain View School in Madurai has actively been working to provide quality English-medium education to lesser privileged children," the 37-year-old actor said.
"They currently teach two hundred students, have classrooms upto grade four, and need to add 14 more. Let us do our bit so that more and more children can fulfill their dreams. Considering the tough times we are in, it is even more important to be there for one another," she added.
Through this initiative, Katrina will be joining hands with Relief Projects India and Mountain View School to work towards an increased level of education to the children of the village community and a higher level of awareness on issues as female infanticide and feticide and the overall importance of a girl child. (ANI)


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Sienna Miller, 37, looks bleary-eyed as she leans on boyfriend Lucas Zwirner, 28, while leaving Anna Wintour's pre-Met Gala party
By Connie Rusk For Mailonline
Published: 03:51 EDT, 6 May 2019 | Updated: 09:33 EDT, 10 May 2019
Her flair for fashion made her the face of boho chic in the noughties.
So it was little surprise Sienna Miller and her boyfriend Lucas Zwirner landed a coveted invite to Anna Wintour's pre-Met Gala party in New York on Sunday.
The actress, 37, looked very bleary-eyed as she left the bash, held at the Vogue editor's townhouse, with her 28-year-old toyboy beau.
All partied out: Sienna Miller and her boyfriend Lucas Zwirner landed a coveted invite to Anna Wintour's pre-Met Gala party in New York on Sunday
Sienna could barely keep her eyes open and looked unsteady on her feet as the couple headed up Anna's steps holding hands.
Lily-Rose Depp bares her toned midriff while Gwyneth Paltrow... Lady Gaga is mesmerizing in voluminous black and white... Serena Williams glows in her yellow skirt and crop top as... Rita Ora catches the eye in a satin skirt and houndstooth...
The Alfie star looked stunning in a green foil dress, which came complete with a plunging neckline and fringed hemline but did appear a little worse-for-wear as the night's festivities caught up with her.
She added a boost to her model frame with moss green heels and complemented the look with a black designer bag.
Bleary-eyed: The actress, 37, looked very bleary-eyed as she left the bash, held at the Vogue editor's townhouse, with her 28-year-old toyboy beau
Put your best foot forward like Sienna in heels by Charlotte Olympia
Charlotte Olympia 'Auspicious Debbie' embroidered shoes
Sold out! Shop the current collection here...
Sienna Miller is always one to watch on the red carpet at the Met Gala. And if her pre-party look is anything to go by, we're not going to be disappointed this year!
Thanks to her sequin embellished and feather trim dress, you might not have noticed her shoes on first glance. But look again and you'll notice these seriously beautiful dragon embroidered heels.
They're by Charlotte Olympia and they really are a work of art, with the dragon wrapping right round the edges and the shiny gold platform for extra height. They're actually from a few seasons ago (we spotted Keira Knightley rocking them back in 2014) so they have now sold out, but click through to browse the current Charlotte Olympia shoe collection.
Or let your feet do the talking in a pair of statement shoes from our edit below instead. From Dune and Ted Baker to Gucci and Manolo Blahnik, we've got all budgets covered.
...NOW GET SOME SHOES LIKE SIENNA'S
Gucci dragon shoes at Farfetch
Manolo Blahnik shoes at Luisa Via Roma
Dune embellished court shoes at Selfridges (now $65)
Ted Baker shoes at Office (now $110)
Lucas, meanwhile, looked dapper in a black suit but dressed down the look with a pair of white trainers.
The art gallery owner was every inch the doting boyfriend as he held a umbrella for Sienna in one hand, while helping her up the stairs.
The couple were joined by James Corden, Harry Styles and Serena Williams for the bash, which comes ahead of Monday's Met Gala.
Stumble: Sienna could barely keep her eyes open and looked unsteady on her feet as the couple headed up Anna's steps holding hands
Sweet: The art gallery owner was every inch the doting boyfriend as he held a umbrella for Sienna in one hand, while helping her up the stairs
Gorgeous: The Alfie star looked stunning in a green foil dress, which came complete with a plunging neckline and fringed hemline
This year's Met Gala theme is inspired by Susan Sontag's seminal essay, Notes On 'Camp.'
The difficult to define concept is an aesthetic that can be difficult to define: 'an intentional over-the-top-ness, a slightly (or extremely) 'off' quality, bad taste as a vehicle for good art,' according to the New York Times.
And it seems Sienna and Lucas are going from strength-to-strength since the confirmed their romance back in January.
Handsome: Lucas, meanwhile, looked dapper in a black suit but dressed down the look with a pair of white trainers
In February, the British-American actress was seen looking smitten as she and her art gallery owner boyfriend, Lucas, enjoyed ice cream during a romantic stroll around New York City.
The pair, who went public with their romance in January, appeared in good spirits as they enjoyed the mild weather during their day out.
The couple, who met through mutual friends in New York, went public with their romance last year when they attended her ex Tom Sturridge's birthday party in London together.
Lucas, who currently oversees 25 book releases a year as editorial director of David Zwirner Books, is a Yale-educated literature aficionado.
The blonde beauty has a daughter, Marlowe, six, with her ex-fiancé, Tom Sturridge, the two started dating in 2011 but ended in 2015 following a four year relationship.
Coveted invite: The couple were joined by James Corden, Harry Styles and Serena Williams for the bash, which comes ahead of Monday's Met Gala
Sienna Miller, 37, joins beau Lucas Zwirner, 28, at Anna Wintour's pre-Met Gala party


"The events leading up to Sandra Bland's unnecessary jailing and tragic death sparked statewide and national outrage. The House Committee on County Affairs of the 84th Legislative Session held several hearings during the interim to discuss the facts, circumstances, and policies that led to her death. The Sandra Bland Act aims to improve and correct Texas' criminal justice system to make it better for all people and prevent future tragedies like Sandra Bland's.
The Committee found that there are significant racial disparities in how the Texas Department of Public Safety treats Blacks when compared to Whites after they have been pulled over for a traffic violation. The Committee also found that the way DPS records and presents the data needs to be improved. This Act will address these problems by strengthening Texas' racial profiling law, as well as ensuring that the data Texas collects is robust, clear, and accurate.
The Committee found reason to believe that Sandra Bland and many other people are still being stopped for an underlying pretext. Though pre-textual stops are not the policy of DPS, Texas law needs to be strengthened to ensure that it does not happen at DPS or any other law enforcement agency in Texas. The Sandra Bland Act does this by explicitly outlawing the practice of pretext stops, as well as outlawing consent searches, and raising the burden of proof needed to both stop and search vehicles in Texas. These changes will ensure the rights of all are better protected.
Additionally, the Committee found that it would be beneficial to the public that all law enforcement would use de-escalation tactics in all interactions with the public. The officer escalating the routine traffic stop was the catalyst for the events that led to the death of Sandra Bland. Implementing policies that better train officers to de-escalate interactions with the public will keep us all safer and prevent future tragedies.
The Committee also found that far too many people are being brought to jail and remaining there unnecessarily like Sandra Bland. The Committee found that policies of diverting people who are in crisis and running afoul of the law either due to their mental health or substance abuse would be better served being diverted into treatment, rather than cycled through the jail system and released with the same problems that caused them to get arrested previously. The Committee found suspending medical benefits upon detention instead of terminating them to ensure there are not gaps in treatment would help elevate this revolving door problem.
Sandra Bland was also arrested for a fine-only offense. It is not logical and potentially unconstitutional to send someone to jail for an offense that carries no penalty of jail time. Sandra Bland, like many people currently in jail waiting for their trial, are unable to pay their bail. Many of these individuals pose no risk to the community nor are they a flight risk. Yet, the Committee found that county jails are spending millions of dollars every year combined to house these inmates who have yet to be proven guilty. Hence, this Act will increase diversion by creating policies to encourage it, and supporting funding for places where people can be diverted to. Additionally, this Act will create policies aimed at properly increasing the use of personal recognizance bonds. If these policies would have been in place, there is good reason to believe Sandra Bland would still be alive.
Click here to view the PDF version of this press statement.
Thanks to all of the speakers listed below and to everyone who came out in support of the Sandra Bland Act.
Click here to view the whole press conference.
Click here to view the full text of House Bill 2702, otherwise known as the Sandra Bland Act.


Ruben (Poppy) Frausto born March 6,1943 in Del Rio Texas and on January 14, 2017 left us at the age of 74.
Jamye Lee Cox, Catherine Ann Griener and Cynthia Lynn Frausto. He has 3 grandchildren, Deedra, Bradley, and Christopher and 6 great grandchildren JD, Shelby, Avery, Blake, Jace and Weston.
There will be a private family memorial service only.


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DC's Theme Park Futures Zine, Spring 2018 edition
Is Sub Sea Systems' Aquaticar the Next Great Dark Ride Concept?
'The submersible Aquaticar features seating for two guests, side-by-side, shoulder-to-shoulder. Each seat is adjustable so that both riders' shoulders are at the same height under a "breathing canopy," that not only provides a continued supply of air to breathe, but also keeps guests dry from the chest up. This is accomplished using positive air pressure.
'The Aquaticar is powered by a "Bubble Engine™" that guides the vehicles along a pre-existing track, approximately 9′ underwater. The track works in conjunction with the cars. As the car travels along the track, it triggers a mechanical air register, which releases air from beneath the track, underneath the car. The car is collecting the air. The air in the register serves two functions. Some of it goes to the Bubble Engine, and some of it goes to replenish air in the breathing canopy.
'Sub Sea Systems is known for what de Bie referred to as "low volume throughput" attractions like the Sea Trek diving helmets and Clear Lounge, where they can only process a limited number of guests per hour. However, in a theme park or water park setting, where there are higher quantities of guests, Aquaticar will allow Sub Sea Systems to bring an underwater experience to a high-volume park environment. The theoretical capacity for the Aquaticar system is between 400-500 riders an hour.' — Coaster101
This under construction attraction at Fantawild Dreamland Zhengzhou in China is also worth mentionning… It is described as a part walk-through, part boat-ride and part SFX show like Disaster at Universal Studios. But not your regular boat ride… Boats here can hold up to 200 people.
'The map above details the rides, attractions, shops and restaurants around my proposed theme park Lava Field. Here we'll focus and detail on the three anchor E-ticket rides / shows:
The Lava Field Geothermal Plant: Roller coaster ride
Lava Field Expedition: Scenic drive-through
The Vulcan Legend: multi-media performance.
'The Lava Field Geothermal Plant is a thrilling rollercoaster ride that forms the centre piece of the Lava Field. The ride itself is spread across the entire Lava Field. The Geothermal Power Plant structure will serve as the main entrance and the attraction facade. Behind the structure is the queueing, ride loading & unloading, and maintenance building. There is a primary show building at the top right which houses the majority of the show scenes of the ride, and a smaller secondary show building, disguised behind rock-works, is located at the centre of the park.
'Guests will board the Deep Earth Explorer to begin their tour of the geothermal power plant. The ride vehicle has quite a few special features. Firstly, it has a very distinctive steam-punk finishing that echoes the geothermal power plant itself. The drilling head at the front can actually spin. However, to reduce the weight of the vehicle, it is not powered by a motor. Instead, it is simply connected to one of the wheel axes so that it will spin when the vehicle moves. There will be a few exterior section of the ride where pedestrian will be able to see the vehicle. As such the spinning drilling head is more of a show effects for the spectators, not for the riders on-board. Furthering that, there is on-board smoke effects when the vehicle is in motion during exterior sections. As such, when the coaster swooshes by, bystanders will see a trail of smoke being left behind the vehicle. This, in general, adds another dimension of visual kinetism and energy to the overall Lava Field area.
'The ride itself is a hybrid of dark ride and roller coaster. The ride layout, and thus the ride story, revolves heavily around the aforementioned track arches, where the vehicle is accelerated via an inductive motor before being shot up the arched track.
'The Vulcan Legend is a multi-media performance in a dedicated theatre. It celebrates the ancient myths and legends that surround the volcano. The theatre sits at the far side of Lava Field. From the outside, guests will only see the tip of the volcano. Only when they enter the theatre will they realise the body of the volcano is actually made up of Pele, a Hawaiian Goddess of volcano, and the lava is actually her beautiful flowing hair.
'The theatre has a curving shape, which echoes with the flowing lava. The overhead trusses keep the theatre's theme cohesive with the more industrial looking geothermal power plant.
'The theatre is open-air, which is partly inspired by the Roman Tarragona. The open-air nature of the theatre also allow pyrotechnic effects during the show. The seating area forms a 'V' shape, with three levels of seating area on each leg. The opening on the lower right hand corner of the show building is the queueing / waiting area for the performance. I have not thought through the exact performance yet, but I imagine it to be based loosely on the Hawaiian legend of Pele.
'The last attraction in the Lava Field is the Lava Field Expedition. It is a ride that simulates a real scientific expedition on the Lava Field. The story for this attraction is simple. You have been invited to join an expedition to a remote Lava Field where geologists have recently discovered. You goal is to collect some rock samples and do some analysis on the area to determine whether it is suitable for the development of a geothermal power plant (which, of course, ties neatly into the Lava Field Geothermal Plant ride).After a short briefing of the mission, guests will then board the L.P.V (Lava Pioneer Vehicle).
'The L.P.V. is very much a NASA inspired vehicle. It features a wide windscreen which can afford excellent panoramas during the ride. The ride vehicle sits four people in a row, all facing forward along the windscreen. Three will be just passengers, whilst the remaining one will be the driver! Consider the Lava Field Expedition as a twist to the classic Disneyland ride, Autopia.
'The driver will have a small degree of control over the direction of the vehicle which is confined within a path, and have some control over the speed with the pedal. Note that the driver cannot stop the vehicle due to the pacing of the ride itself. However, he can control the speed, which will in turn determine the bumpiness of the ride (faster = more thrills). Though, the speed is tuned such that, even at the fastest speed, the L.P.V can never catch up the vehicle in front to prevent collision.' — The Blue Armchair
TRON Lightcycle Power Run Coming to Magic Kingdom Park at Walt Disney World Resort
'Tron – our highest-rated attraction at Shanghai Disneyland – is coming to Walt Disney World Resort in Florida in 2020! The TRON Lightcycle Power Run attraction at Shanghai Disneyland is a coaster-style attraction where riders board a train of two-wheeled Lightcycles. It offers access into the energy, lights and excitement of TRON's high-tech universe and is one of the most thrilling adventures at any Disney park.' — Disney Parks Blog
Here's what I think will be the Cedar Point 150th anniversary 2019-2020 coaster.
Amazon Drifter is a combination of immersive high-definition media, special effects and water. Currently under development, the company is in the midst of creating a layout with a potential rollout for 2019. The 12 passenger concept, themed around an Amazon River adventure, floats down a waterway in a trough. Below the boat will be a submerged conveyor belt with a motion base underneath it. Using this technology, the dark water ride will be able to bounce the boat up, roll it from side-to-side and even turn it 360 degrees. On- and off-board SFX elements such as wind, mist, scent, heat and cool air also add to the immersive experience.
Universal Studios Super Nintendo World Plans Leaked
'The image above reflects how Super Nintendo World would look in Universal Studios Florida. From all of my personal sources, the exact footprint of the land fits exactly with what I have heard since before this project was announced. Meaning the E.T. Adventure stays, but the Animal Actors Stage, Barney and Fievel's Playland are going away. In addition, the land that was once occupied by the former Hard Rock Cafe will be utilized where you see the Super Mario attraction in the upper right.
'If you notice the entry for the land would fall just outside of the Central Park area by the lagoon in Universal Studios Florida. Princess Peach's Castle would serve as the weenie to enter Super Nintendo World and you'd enter through an entry portal of sorts complete with interactive attractions featuring Pokemon and other interactive gaming areas.
'In the upper left you have a section of the land dedicated entirely to Zelda. However, it's the yellow building towards the top that you should pay special attention to. Hyrule Castle Attraction may be the most unique thing coming to this land. A few months ago, we broke the story of Universal filing a patent for a puzzle theater here. Along with the layout of the land came this interesting piece of concept art.
'Zelda would be the franchise that would use this one-of-a-kind puzzle theater attraction. If you're unfamiliar, the seats of this theater could move up and down, side to side and even pass over one another. A concept that hasn't even come close to being done before. Plus, if I understand this correctly, each show could be different based on how the audience interacts with Link. Meaning the theater could move in different directions based on game play.
'The only thing that was confirmed to the press at the media announcement at the groundbreaking at Universal Studios Japan is there would be a Mario Kart attraction. Not a surprise to anyone in the industry and the above concept art might seem confusing. Assuming it's real, this would probably mean the attraction would use virtual reality to make it appear you're racing alongside Mario, Luigi and the gang.
'The next piece of potential concept art that was released was this piece of a Donkey Kong roller coaster. Notice how the actual track is below the show track. An arm suspends the actual coaster train above the track that riders see as they move along the course. This would allow you to achieve those cartoon like sequences in the game that a real coaster could not possibly do safely in real life. Finally, based on what I know, these images aren't entirely correct. If my sources are right, there is a Yoshi dark ride that has entered the mix since the layout above was made.' — Josh Young
Norway is trying to cement itself as a destination for all things Viking. Thor's Rike (Thor's Kingdom) in western Norway aims to not only be Norway's largest theme park when it opens, it wants to become the "Viking capital of the world".
The theme park which is scheduled to open in 2020 will feature an array of roller coasters and carousels, along with "infotainment" so guests can learn about the history of the Viking warriors. Visitors will be able to eat like Vikings and even barter like Vikings at shops around the park.
So far developers have revealed that the park will be broken up into several different sections, including a forest, a gigantic castle-fort, and a trip through the Norse underworld. Developers described Thor's Rike as a "theme park in Viking costume."
Dollywood MASSIVE CLEARING for 2019/2020?? New Roller Coaster??
'There is an enormous clearing behind Thunderhead and Mystery Mine in Dollywood. It has got to be at least 1/4 of the size of Dollywood. As of now, we know it will be the largest expansion in the parks history and will come in 2019. Basically what they have done is leveled a preexisting mountain. The smoke you see is because they are burning all the old trees back there because the wood isn't good enough to sell. We do not know what will become of that space as of now.' — Coaster Studios
Holovis and S&S unveil world-first media-led rollercoaster concept
'Media-based attraction company Holovis and thrill ride company S&S-Sansei Technologies have announced a design and patent for the world's first Immersive Elevator MediaCoaster.
'The Immersive Elevator MediaCoaster starts with a narrative. This will flow through a highly themed media and interactive preshow. Guests will then board what initially might look like a traditional dark ride. The ride vehicle will then enter a 360° dome. Rich media will then completely surround the guests, with no need for awkward VR headsets or 3D glasses.
'Stuart Hetherington, CEO of Holovis said, "We have paralleled the key structure of narrative based entertainment and applied it to the physical coaster experience, something that has never been done before in this way. Coasters have long been the traditional form of physical and thrilling entertainment. However, typically the patterns of excitement peak at the highest point. This is usually towards the beginning, then drop as there is no connected narrative to continue the thrill.
'"This scalable design extends the overall ride time. It also allows for complete customization of the guest experience in the elevator section before the guests realize they are about to drop back into the real world, thus heightening the thrill levels even more."' — blooloop
Mystery River re-opens as Excalibur on 7th May at Movie Park Germany
'The attraction will be completely re-themed throughout. King Arthur, the Knights of the Round Table, and dark creatures and fairy tale characters will populate the attraction, and the famous sword from this mythical history makes its appearance: Excalibur.
'Visitors will be sent by wizard Merlin on a risky search for the legendary sword Excalibur. This was stolen from the knights table and must be returned to the rightful owner, King Arthur, as soon as possible. The journey is only possible by making numerous dangerous maneuvers through enchanted forests and dark caves.
'This ride is one of the oldest and most popular in our park, so now we want to do justice to this veteran from our park's history and give it a dignified and fresh upgrade including the new name: Excalibur – Secrets of the Dark Forest.' — Theme Parks-EU
Animatronics get more animated
'Garner Holt Productions, which manufactures many of the animatronic characters used in Disney's attractions and other parks, has developed what it calls "Living Faces of History."
'The next-gen animatronics incorporate as many as 46 servo actuators in the face and 7 in the neck. They are capable of millions of combinations. The company had a Cockney character on display at the IAAPA expo that demonstrated remarkable expressiveness and fluidity. It could convey a variety of emotions such as wide-eyed wonder and immediately transition to disgust.
'"We're trying to push the limits," says GHP's president and founder, Garner Holt. "We want to replicate the human face as closely as possible."' — USA Today
German manufacturer Maurer has created what it calls the Spike coaster, the world's first interactive coaster. Passengers straddle the seats like a motorcycle and can control the speed of the cars by turning a throttle mounted on their handlebars.
Alterface launches Erratic® Ride, the first non-linear, mixed-media, interactive ride
'Benoit Cornet, CEO and Founder at Alterface, announced the company's new Erratic(R) Ride this afternoon at EAS in Berlin. The new Erratic(R) Ride utilizes trackless ride vehicles to move guests in and out of a central dispatch zone into "dead ends" where interactive experiences can occur.
'The design takes out the element of a singular loop or linear path. This can provide an opportunity for storytellers to rethink how they tell a story in an attraction and also gives designers a chance to create "moments of enjoyment" while transferring between the scenes. Cornet explains this as ways to speed up the cars, or spin them around for additional thrill. "We believe the dark ride is all about motion, and we are breaking away from slow, linear movement," said Cornet.
'Cornet said the magic will be in the non-predictability of the ride. The way scenes are organized and what happens in each scene can be different from ride to ride, so what one rider experiences will be different from what their friend does in a different car.
'Alterface is partnering with ETF to use their Multi Mover six-passenger vehicle that will be controlled by the general show control system.' — inpark
The world's largest indoor theme park prepares to open in Dubai
Visitors can spin in a gondola modelled on Thor's hammer, wave to the Powerpuff girls in a colourful parade or get chased by ghouls and madmen when the world's biggest indoor theme park opens in August 2019.
More than 20 rides and attractions at IMG Worlds of Adventure are in the final stages of testing and commissioning, with acrobats and dancers preparing for live performances since February.
The park – spread over an area equivalent to 28 football fields and high as a 10-storey building – promises hair-raising experiences such as the Haunted Hotel, whose visitors must be 15 or older to "check in".
Harry Potter expansion (Universal Orlando)
All-Terrain Dark Ride From Dynamic Attractions
'At first glance, the All-Terrain Dark Ride system may not seem that exciting. We already have ride systems that are trackless and self-driving cars are found on highways daily. We have seen rides like Radiator Springs Racers at Disney California Adventure have two vehicles racing side-by-side, but is there any real sense of danger since those cars are on a track with a slot in the middle? Over in Skull Island: Reign of Kong, a trackless vehicle can slowly take tight turns and even small inclines. However, that experience is with roughly 50 people. Hardly intimate and terrible sightlines if you're in the middle or the front of that truck.
'This new ride system from Dynamic Attractions accommodates smaller groups of six in two rows, meaning you've got a far more intimate experience with far better sightlines than a Kilimanjaro Safari or Skull Island vehicle could ever imagine. Most importantly, you really don't know where this thing is going to go. Think about it. Any other ride system that is outdoors follows a clearly defined path. You know where that vehicle is headed at all times. The All-Terrain Dark Ride? You have no idea. Your vehicle could speed up and pass one ahead of your own. It could go under a waterfall. Maybe a hatch opens up in the middle of a field and all the vehicles enter a secret underground bunker!
'The vehicles come with a fantastic onboard audio system. It also comes with sub-woofers so it has this nice deep, high-quality sound. In terms of other on-ride effects like scents or mists… we're not gonna do that stuff," said Walker. "The reason why is we aren't simulating anything on this vehicle. It's all about a real experience. So if you want to go through water and get splashed in the face, we are gonna put water there and you're gonna get splashed in the face. We don't have to fake anything!
'Another interesting piece of trivia is the scope of an attraction like this is virtually unlimited. George Walker told me that this kind of system is only limited by your budget. Meaning, the distance to which these vehicles can be controlled is enormous. Imagine a Kilimanjaro Safari ride with these smaller self-guided vehicles. Granted, you couldn't quite get that close to the animals with an open-air vehicle this low to the ground. On the other hand, could you build a Jurassic World attraction where you drive around in Jeeps dodging animatronic dinos? Yes, you absolutely could.' — Josh Young
DOF Robotics Dark Ride Flying Theater project final tests of synchronization
Leading creator of media-based dynamic simulation attractions, Simworx, and Dutch ride manufacturer, Mondial, to launch the 360° Flying Theatre
'The new 60-seater attraction promises to deliver a real sensation of flying as guests experience a movie on a huge domed screen, enhanced with new technologies and optional special effects. Simworx is supplying the Flying Theatre as a full turnkey solution, complete with show control, audio visual and effects hardware.
'Simworx, known for its 4D effects cinemas and Immersive Tunnel, is an expert provider of media-based attractions worldwide, from full turnkey solutions, custom attractions, product development, manufacturing and service support, to film content and complete themed attractions. Clients can also access a vast film library with a range of subject content to suit a wide variety of venues and audiences.' — blooloop
A Studio Ghibli Theme Park Is CONFIRMED for 2020
'A new theme park in Japan will bring to life the worlds created by Hayao Miyazaki, the renowned animator behind films including Spirited Away, Howl's Moving Castle and Princess Mononoke. Studio Ghibli, which aims to open the new attraction in 2022. The ambitious plans were announced by the regional government, which said the park would be built at the Expo 2005 Aichi Commemorative Park in Nagakute city, near Nagoya in Aichi Prefecture.
'Featuring rides and forest trails inspired by Miyazaki's many critically acclaimed animations, the 200-hectare park will be peppered with European-style brick towers that often appear in the master animator's films. There will also be spider and boar-shaped spirit installations evocative of Miyazaki's work.
'The main gate will be designed to conjure up the 19th-century structures in Howl's Moving Castle, and there are plans to have a recreation of the antique shop from Whisper of the Heart. A Princess Mononoke Village is set to feature, as is Witch Valley, an area with Howl's Moving Castle and Kiki's Delivery Service-themed rides and attractions. The Dondoko Forest area is already home to the house from My Neighbor Totoro, which was built for the 2005 World's Fair. There will also be the Big Ghibli Warehouse, filled with Studio Ghibli themed play areas, exhibitions and cinemas.
'Projected costs for the project are yet to be disclosed.' — parks-to-be
p.s. RIP Adam Parfrey, visionary publisher (Feral House) and singular countercultural force. ** David Ehrenstein, Awesome on the Baillie props. Yes, give Ira a shout. And obviously tell him I told you too, if you like. ** Steve Erickson, Hi. Yes, I think your recent call-out to 'Castro Street' is what put making a Baillie post in my head. I'm onto your reviews. Everyone, Two great ways to go from Mr. Erickson today. (1) Here's his short take on Michel Hazanavicius' 'Godard Mon Amour', and here's his lengthier read on Coralie Fargeat's bloody and much liked film 'Revenge'. I'll go hunt down the Benjamin LaMar Gay pronto. Sounds way eclectic. I'm actually a big admirer of 'Flowers of Romance', so I'll try to find another way in. ** Jamie, Up, up, up, J-string! It seems entirely possible that that Baillie film has been here here in some form. Super good news about the Writing Gang's positivity on your screenplay, even on your doubted opening. Great example of how one can not always know all the tentacles of one's strengths. And you're re-fired up! Best news of all! Well, re: the TV show, we're in a development deal right now, so technically ARTE could decide they don't want to produce it. Hopefully we'll make it through to the locked-in phase. Hard to tell on when it would be shot. We'd like to shoot it early next year, but that'll depend on how long it takes to get the script acceptable to them. I can't imagine there'll be any less than six months between acceptance and going into production. There's a lot to arrange, especially with what will presumably be a giant, pro shoot like this series will require. So it's a wait and see so far. Really need to get a title sorted before they start suggesting titles. Zac and I have a pretty solid working title for our next film now, which I don't want to reveal until it's 100% certain, but it's a good one, I think. I have been up to little apart from work, honestly. Meandering about. I'm about to check and approve the layout/look of my new and very soon to-be-published gif fiction book, which isn't really work. A couple of friends are coming into town. Going to a concert this weekend. Until then, just finishing the TV script. And you and today in combination? I hope your Friday is like a cruise liner in a champagne bottle. Hair shearing love, Dennis. ** Dóra Grőber, Hi! Well, it's not finished yet. Our meeting with Gisele got delayed until this morning and reset on Skype because she's away overseeing a performance of one of our theater works right now. After that we'll make the changes she wants, and then … and then it might just be mission initially accomplished! Reading is the best. It's really hard for me actually work in those settings too, but I find those situations good for resting my head back and letting my imagination try to write a rough draft of what my fingers will eventually enact. The great thing about the daydreaming part of writing is you don't censor yourself or worry that you don't know how to write down what you're thinking. That does sound exhausting: yesterday, but that is really fascinating about the Brazilian woman. Yesterday I … hm, worked on blog posts, made plans to go to a concert, found out a couple of friends/collaborators will be in town this weekend to visit with, and otherwise I think I just smoked cigarettes and read a little and daydreamed about nonsense. How was Friday? It's almost the weekend! ** _Black_Acrylic, Hi, Ben. Oh, no, that's terrible news. Jesus. I guess there's no sense in waiting until he's had a restorative nap and time off? And I guess finding another partner with whom to continue YnY is a bad idea? Well, endure the loss, I guess, and try to keep your fires about the future for it that you imagined roasting and mutating because there's surely another route that, although reconfigured, will carry your energy and ideas through. I'm sorry, my friend. I can only imagine that disappointment, and after such a triumphant re-beginning. Love to you. ** JM, Ooh, I'm going to investigate that seemingly purposeful building of purposely empty buildings. What a gorgeous idea. How's everything going? ** Right. I geeked out on one of my beloved areas of great interest today in hopes there's at least a scatter of others out there who get similarly charged up at the current re-upping of what theme parks can accomplish. See you tomorrow.
Bruce Baillie Day
Mark Morrisroe Day
That's really sad about Parfrey. LORDS OF CHAOS is probably the best-selling and best-known book Feral House ever published (a film adaptation directed by Jonas Akerlund is coming out in the US this summer), and I think it did a lot to create that period where indie rockers suddenly thought black metal was the hippest music around.
Here's my interview with cinematographer and accomplished mountain climber Renan Ozturk:http://www.studiodaily.com/2018/05/dp-renan-ozturk-mountain/. He shot the documentary MOUNTAIN, which opens in New York today.
A song for today
The Dennis Cooper TV show would be Fabulous. Special guest stars Jane Birkin , Michel Legrand and Wes Anderson with Francoise Hardy
Yeah, a shame about Parfrey. I never had many interactions with the guy (aside from a few e-mails here and there: like me, he was a big Huysmans fan), but he was good friends with one of my Facebook friends (Scott Bradley) and I used to enjoy reading the back and forths they had on there. And needless to say, he put out a lot of great books through Feral House over the years.
Dennis, you know my brother Tom who was laid off from Barnes & Noble a few months ago? He was hired for a new job yesterday, at a warehouse that distributes top-of-the-line bowling bowl equipment (well, plus billiard balls, bocce balls, and so on). Place is only like a mile away from the B&N he used to work at. He starts May 21st, which is good timing because his severance pay ends May 19th.
Dóra Grőber
Darn. Is it mission initially accomplished?! I keep my fingers so crossed! What did Gisele say?
Yes, I completely get what you're talking about. When I'm not reading, I usually slip into this daydreaming mode too. And though I can't really write with all the hassle around me, it proves to be the other way around with daydreaming: it's got an inspirational effect.
Whose concert are you planning to go to?
And finally, it IS the weekend!! We had a pretty calm day at the shop today and we were only open 'til 4 so I'm not completely exhausted just yet. I just finished the new episode of Drag Race and now I'm all satisfied because Aquaria is still going strong.
How was your Friday? I hope everything's finished TV script and progressing new film!!
Dennis, have you ever considered approaching one of these theme park making companies and offering them your expertise? I really think you should. You must be some kind of expert in the field, definitely a connoisseur. Seriously, it could lead to that theme park you've always fancied designing. Maybe when you finish with films, TV, gif works, etc…could be a whole new career for you. I think any self-respecting dark-ride designer would snap you up. I hope this doesn't come over as me being facetious or sarcastic or something – I genuinely think it's a great idea. Also, that park in Dubai looks nuts good.
How are you? Great there's a new gif work forthcoming! Has that got a title and do you feel like sharing it? I bloody love coming up with titles.
Will you and Zac be involved in the actual production of the tv show, or just the writing? I can imagine you'd want to be in on the whole thing. How exciting!
My old boss/enemy Jonathan has been back in touch, asking me to help him with the cartoon again. It's a funny one, tbh. I do want to have another bash at making a good cartoon, but I'm still pretty sore with him and he does my nut in. My horoscope today said not to agree rashly to any offers, so I'm thinking about it. I should point out that I don't really read horoscopes, but did so idly on the train today and it seemed so pertinent that I paid attention!
Hope you have a sweet sweet sweet weekend and the gig's a good one. I'm planning on writing some more for the proposed web series, which has kind of grown weird and misshapen legs, in a good way. Atm it's called Dispatches From the End of the World, which isn't an amazing title, but was the starting point so works well, if you get me. What do you think of it?
Also, your wish of 'hair-shearing' love was prescient as I did indeed have my hair shorn today. Spooky.
Exploding Plastic love,
Had I seen those Universal Studios Super Nintendo World plans as a SNES addicted teenager, they would've occasioned some major involuntary drooling. They must still be firing a few synapses because ooh I'm defo intrigued by the 2D map here.
Sad waking up to news of Parfrey's passing. Apocalypse Culture and Lords of Chaos were big events in my art school days, and the Pure Filth book he published with Sotos and Jamie Gillis is a thing of great beauty despite its difficult contents. I spent some of today watching a few YouTube interviews and reading through messages on Parfrey's Facebook profile. In other terrible news there was also Scott Hutchison, the missing singer in Scottish band Frightened Rabbit, whose body was found this morning.
I'd post a link but I'm still having computer issues and commenting via my phone.
Here's my debut piece for the Nation, an album review of the Flatbush Zombies' VACATION IN HELL: https://www.thenation.com/article/the-progression-of-flatbush-zombies/
liquoredgoat
Hey Dennis, I'm very sad about Adam's passing. He was a very nice and very uncompromising guy. Not mutually exclusive qualities. Feral House was 1/3 of library in my late teens and still has a great influence on me.
I'm settling into summer and it's requisite reading for an exam in fall on books/writers that inspire my style/goals. Reading The Marbled Swarm (and rereading Dream Police and Weaklings) and seeing what you meant about changi g up your syntax/diction radically and purposefully in that novel.
Hope you're well, Dennis.
Big D, I like theme parks or amusement parks, but I haven't been to one in years. Usually, in this area, you go in the summer and it's a hundred degrees and you just boil and sweat the whole time. I think that's what's kept me from going more. Plus, last time I went was in, what, 2006 or so and I was very large then and barely fit in any of the rides. I'll fit now, that's for sure. I'll have to make a commitment to go somewhere this summer. I can handle the heat better too.
Thanks for the encouragement. I think I found what I needed to find re: this bit of my novel. That wtf moment was really a launching pad for figuring out what I really want to do with this bit. So yeah, it worked out.
Our Green Beret friend and his wife dropped by tonight. It was nice to see them. They're good people. He was telling me that he's had over a hundred concussions from combat and from jumping. He's trained for the mountains and the jumps they have to do, both in training and combat, are quite jarring. Then there are the concussions from bombs going off and shit. Kind of interesting to me.
I have a chill weekend this weekend and then I'm going to the "Wine in the Woods" festival in MD next weekend. It's an annual event. That should be fun.
Otherwise, nothing really new to report. I would've said hey last night, but I was so fucking tired. Just jumped in bed really early. Zzzzz…
John Fram
Hey D, how's you? These theme parks are giving me the definition of life. What's fresh in your world? I saw on FB the blog was *attacked* and I'm shook. Everything ok?
In crazy news, I submitted a draft of my novel to my agent last weekend (!!). It's very much a draft–the fucking thing is 630 pages for Chrissake–but it is, almost miraculously, an A-to-Z capital "N" novel and I am wiped the fuck out.
The last seven months were serious work. The last two were…something else. I'm going through this constant strange sensation like the shuddering shock you feel in a car's engine when you slam the brakes on the highway. It's honestly scaring the shit out of me. I haven't written anything in five days and I wonder if I'll ever have the balls to write again. I'm dying to hear my agent's notes so I can just *finish* the fucking thing. Or stop pretending I'm a fraud and give up and go to law school while I still have time.
Do you get anything similar when you finish something? Does it ever get easier? Should I just shut up and enjoy the fact that you never get another first novel? Humbled minds want to know.
If this book makes any sum of money I'm flying to Paris. I miss that city hard and it would be great to see you.


Our daughter is getting married.......some time..........this year???..........I think her dad could do the first dance, but don't think he would manage the second one! Love this, I will have to show her when she is over to see her brother later this week. Thanks for posting!


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After reading Danah Boyd's "Blogging Outloud: Shifts in Public Voice", I got thinking. I really wonder why the context of the creator's life work isn't more so taken into consideration when a user is searching for something on the Web.
Before the Web, a person's various writings, creations, and expressions were individual separate items. Now with the Web, we live our lives online. Our lives are on display through the user-generated content and the online social networks that we participate in.
Our various self-expressions don't have to be taken as disparate items they can be really looked at with the context of the creator's whole body of work.
How much more could a search engine learn about Web site if it was seen along side everything else that that author has created?
Would a search engine be able to understand how well thought out an issue is if it understood the other times that an author thought about an issue? It could show the difference between a fleeting thought and something that a user has been researching and musing about for a while.
Could the content of a web page have subliminal meaning that would only be understood if it was judged in relationship to all the other works that went around it?
You don't ever have individual thoughts. My thoughts build upon other thoughts which build upon other thoughts. My blog isn't just a conversation with my readers it displays an evolution of myself. It is a conversation between me and history.
With technologies like OpenID (a single online identity), we can tie together expressive works across multiple disparate systems. I have written short stories using Ficlets but written blog posts using WordPress. With OpenID, the short stories and blog posts can be tied together to the same author.
NOTE: I dunno…this has been just rolling around in my head. I have been probably drinking too much coffee. If this post doesn't make any sense, humor me.
For kicks, you might want to check out the young adult book "Feed" for a (not-so) futuristic look at the Web.
Hmm… Perhaps I understand some of what you are saying. It's like if you try to read one letter written by Thomas Jefferson to John Adams without the context of having read all the other letters. Or without knowing the history of these two gentlemen. There is still some worth to the letter but not as much without knowing all the context.
Maybe this isn't what you are saying at all….
Though the idea of getting subliminal meaning from a web page is intriguing.
@Cheralyn, That's exactly what I was saying.


text:
Justia › US Law › Case Law › Federal Courts › Courts of Appeals › Fourth Circuit › 1966 › Fetcher H. Hanson et al., Appellants, v. the Chesapeake and Ohio Railway Company, a Corporation, App...
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Fetcher H. Hanson et al., Appellants, v. the Chesapeake and Ohio Railway Company, a Corporation, Appellee, 367 F.2d 134 (4th Cir. 1966)
US Court of Appeals for the Fourth Circuit - 367 F.2d 134 (4th Cir. 1966) Decided September 16, 1966
Robert O. Ellis, Huntington, W. Va., for appellants.
Edwin W. Conley, Huntington, W. Va. (Huddleston & Bolen, Huntington, W. Va., on brief), for appellee.
Before BOREMAN, BRYAN and J. SPENCER BELL, Circuit Judges.
PER CURIAM:
Fletcher H. Hanson and others appealed from a decision of the District Court for the Southern District of West Virginia1 granting the motion for summary judgment filed by the Chesapeake & Ohio Railway Company (hereinafter C. & O. or railroad), and denying enforcement of an award of the National Railroad Adjustment Board, Third Division. The Board decided that the transfer by the C. & C. of work from one seniority district2 to another3 without consulting the union violated the collective bargaining agreement which contained a basic provision that established seniority districts should not be changed without mutual agreement between union and management.
The facts are stated in the opinion of the court below.4 Briefly, the railroad changed its schedule covering package cars of less-than-carload freight whereby freight, which previously had been billed to Huntington for unloading and transferring into other railway cars for further shipping, was under the new schedule to be billed to Ashland. These points are about sixteen miles apart and are in different established seniority districts. As a result of the increase in bulk-transfer work at Ashland nine new positions were established there. Due to the decrease of work at Huntington twenty-three positions were abolished there. The Railway Brotherhood claimed that the collective bargaining agreement between the brotherhood and the C. & O. had been breached by reason of the abolishment of these positions at Huntington. The dispute reached the NRAB which interpreted the collective bargaining agreement and determined that the changes made by the railroad amounted to the removal of work out of one seniority district into another and that, in view of the entire purpose and underlying spirit of the seniority provisions of the contract which were intended to protect valuable seniority rights, before making such changes to the obvious detriment of one group of employees and affecting their seniority rights the railway must consult the appropriate bargaining representative of the employees affected in a bona fide effort to mitigate the impact of the changes upon those employees.
Certain of the affected employees instituted the action below under the Railway Labor Act, 45 U.S.C.A. § 151 et seq., seeking enforcement of the Board's award. The court below held in effect that, contrary to the Board's determination, under the agreement the making of the schedule change was a prerogative of management; that the railroad was, therefore, under no contractual obligation to discuss it or consult with the brotherhood; that the Board had exceeded its authority to interpret contracts and had changed, altered and rewritten the bargaining agreement; and that the issue involved was not within the terms of the agreement.
This court, per curiam, affirmed5 the court below. The Supreme Court granted the petition of Hanson et al., for a writ of certiorari, vacated our judgment, and remanded the cause to us "for further consideration in light of Gunther v. San Diego & Arizona Eastern Railway Co., 382 U.S. 257, 86 S. Ct. 368, 15 L. Ed. 2d 308 [December 8, 1965]."6
In Gunther, the Court said:
"* * * Certainly it cannot be said that the Board's interpretation was wholly baseless and without reason. We hold that the District Court and the Court of Appeals as well went beyond their province in rejecting the Adjustment Board's interpretation of this railroad collective bargaining agreement. As hereinafter pointed out Congress, in the Railway Labor Act, invested the Adjustment Board with the broad power to arbitrate grievances and plainly intended that interpretation of these controversial provisions should be submitted for the decision of railroad men, both workers and management, acting on the Adjustment Board with their long experience and accepted expertise in this field." (382 U.S. at 261-262, 86 S. Ct. at 371).
"* * * This Court has said that the Railway Labor Act's 'provisions dealing with the Adjustment Board were to be considered as compulsory arbitration in this limited field."' (382 U.S. at 262, 86 S. Ct. at 371).
"* * * Also in Locomotive Engineers v. Louisville & Nashville R. Co., 373 U.S. 33 [83 S. Ct. 1059, 10 L. Ed. 2d 1721, the Court said that prior decisions of this Court had made it clear that the Adjustment Board provisions were to be considered as `compulsory arbitration in this limited field,' * * * `the complete and final means for settling minor disputes,' * * * and `a mandatory, exclusive, and comprehensive system for resolving grievance disputes." * * *." (382 U.S. 263-264, 86 S. Ct. 372).
The Adjustment Board, rather than relying upon the literal and technical provisions of the agreement, looked to the over-all effect of shifting work from one seniority district to the other and the impact of the changes upon one group of employees which resulted from operations pursuant to the unilateral decision of the railroad.
In obedience to the Supreme Court's order of remand we have reconsidered this case in light of Gunther. Bearing in mind the principles enunciated in Gunther and the application thereof in the instant case we accept that decision as compelling the holding: That the Board's interpretation of the collective bargaining agreement here involved is not "wholly baseless and completely without reason"; that, if the railroad were to be permitted to shift such operations from one seniority district to another without conferring with the representative of the aggrieved employees, the practical effect would be to allow it to destroy the seniority rights of the workers as fully and completely as if it had discharged certain employees within the seniority district without cause and had then employed others in different classifications to replace them.
In view of its decision that the railroad had acted within its rights and had violated no contractual obligations the District Court did not consider the money awards to the aggrieved employees. We feel compelled to vacate the judgment below and to remand the case for such further proceedings not inconsistent with this opinion as may be necessary under the pleadings filed to determine the amount of damages to which each of the aggrieved petitioners is entitled.
Hinson v. Chesapeake & Ohio Ry. Co., 236 F. Supp. 56 (1964)
Ashland, Kentucky
236 F. Supp. 56 at p. 57
351 F.2d 953 (4 Cir., November 4, 1965)
Hanson v. Chesapeake & O. Ry. Co., 384 U.S. 211, 86 S. Ct. 1464, 16 L. Ed. 2d 481 (1966)
of Fourth Circuit opinions.


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