Po Bronson and Ashley Merryman's work changes the national dialogue. Beyond their bestselling books, you know them from commentary and features in the New York Times, CNN, NPR, Time, Newsweek, Wired, New York, and more. E-mail, Facebook, and Twitter accounts are filled with demands to read their reporting (such as "How Not to Talk to Your Kids," "Creativity Crisis," and "Losing Is Good for You").
In TOP DOG, Bronson and Merryman again use their astonishing blend of science and storytelling to reveal what's truly in the heart of a champion. The joy of victory and the character-building agony of defeat. Testosterone and the neuroscience of mistakes. Why rivals motivate. How home field advantage gets you a raise. What teamwork really requires. It's baseball, the SAT, sales contests, and Linux. How before da Vinci and FedEx were innovators, first, they were great competitors.


text:
Q: Поворот актера в libgdx Как в данной библиотеке можно повернуть актера на сцене?
actor.rotateBy() срабатывает но актер визуально не поворачивается, только где то внутри самой игры происходит поворот. Т.е я знаю место где актер повернулся, я могу с этим местом взаимодействовать(например снова повернуть актера), но визуально он остается на прежнем месте.
Спасибо за помощь.

A: Нужно переопределить метод draw() у актера
public class Gem extends Actor {
        private Texture texture ;

        public Gem(float x, float y) {
            setPosition(x, y);
            texture = new Texture(Gdx.files.internal("data/gem.png"));
        }
      @Override
        public void draw(Batch batch, float parentAlpha) {
                batch.draw(texture, getX(), getY(),
                        getWidth() / 2.0f, getHeight() / 2.0f,
                        getWidth(), getHeight(), 1, 1, getRotation());
        }
}

stage.addActor(new Gem(2, 6));

redpajama_set_name: RedPajamaStackExchange


This 2 light Island Pendant from the Canary Wharf collection by Troy Lighting will enhance your home with a perfect mix of form and function. The features include a Burnt Sienna finish applied by experts. This item qualifies for free shipping!


text:
Here's why historic, exotic Porsches are streaming through Salinas
With WeatherTech Raceway Laguna Seca hosting the sixth Porsche Rennsport Reunion, the streets and highways of Salinas have welcomed unusual guests.
Here's why historic, exotic Porsches are streaming through Salinas With WeatherTech Raceway Laguna Seca hosting the sixth Porsche Rennsport Reunion, the streets and highways of Salinas have welcomed unusual guests. Check out this story on thecalifornian.com: https://www.thecalifornian.com/story/sports/2018/09/28/laguna-seca-welcomes-historic-exotic-porsches-salinas-area/1446315002/
Ayrton Ostly, Salinas Californian Published 3:57 p.m. PT Sept. 28, 2018
PHOTOS: Porsche Rennsport Reunion VI
Though many of the cars on display are from outside California, Scotts Valley-based Canepa Racing brought many cars from the 1970s and 1980s to race and show for fans to see. Ayrton Ostly/The Californian
This Porsche 935 K3 won the world's toughest endurance race, the 24 hours of Le Mans, in 1979. Ayrton Ostly/The Californian
Though more known for sportscar championships, this 1985 McLaren-TAG was powered by a Porsche engine and won the 1985 Formula One world championship. Ayrton Ostly/The Californian
The Porsche RS Spyder that won many American Le Mans Series (ALMS) races. Ayrton Ostly/The Californian
Restorators also brought some vintage Porsche tractors to Rennsport Reunion VI, like this one from the late 1950s. Ayrton Ostly/The Californian
This Porsche 935 K3 was driven in from Reno, Nev. as one of many out-of-state racing groups came to WeatherTech Raceway Laguna Seca. Ayrton Ostly/The Californian
Rennsport Reunion VI at WeatherTech Raceway included the unveiling of the new limited-production Porsche 935 (70). Ayrton Ostly/The Californian
Rennsport Reunion VI is a big enough event that media members from Germany's Sport1 came to WeatherTech Raceway Laguna Seca. Ayrton Ostly/The Californian
The 1948 Porsche 356 "No. 1" Roadster, widely considered the first purely original car the company ever made. Ayrton Ostly/The Californian
One of the fan favorites of the Rennsport Reunion is the 1970 917 K. This car was featured in the Steve McQueen movie 'Le Mans' and won multiple endurance racing championships. Ayrton Ostly/The Californian
Fans line up for book signings from famous Porsche racing drivers like Hurley Haywood, Derek Bell and Jacky Ickx. Ayrton Ostly/The Californian
The 1960 Porsche 718 RS 60 Spyder was flown 5,800 miles from the Porsche Museum in Stuttgart, Germany to be on display this weekend at the Rennsport Reunion at WeatherTech Raceway Laguna Seca. Ayrton Ostly/The Californian
The Sports Car Club of America (SCCA) style racing cars from the 1960s are what Milwaukee, Wis.-based Ecurie Racing specializes in. The company spent four days driving a handful of historic cars from their shop to WeatherTech Raceway Laguna Seca. Ayrton Ostly/The Californian
The Porsche Type 64, built in 1939, was the first racing car ever made by the German automaker. The Type 64 and many others from the storied car company's past are on display this weekend at WeatherTech Raceway Laguna Seca. Ayrton Ostly/The Californian
Some Porsches, like this 1971 917, were flown from Germany in special containers before arriving at Laguna Seca in time for this weekend. Ayrton Ostly/The Californian
Some Porsches, like this 1971 917, were flown from Germany in special containers before arriving at Laguna Seca in time for this weekend.(Photo: Ayrton Ostly/The Californian)Buy Photo
Pull up to the intersection of Blanco Road and South Main Street this weekend and the odds are good that a piece of automotive history will be waiting at a stoplight.
Porsche cars, both old and new, are making their way in droves down Highway 68 to WeatherTech Raceway Laguna Seca for this weekend's Porsche Rennsport Reunion.
Rennsport Reunion is a four-day event at the historic racetrack that highlights some of the greatest cars in the German company's history.
Eight decades worth of Porsche cars will be on display as well as run on the track for the public to see in person during the biggest Porsche event in North America.
A 'second home'
The first Rennsport (German for "racing") Reunion was in 2001 at Lime Rock Park in Connecticut, followed by reunions at Daytona International Speedway in Florida in 2004 and 2007.
The Porsche Type 64, built in 1939, was the first racing car ever made by the German automaker. The Type 64 and many others from the storied car company's past are on display this weekend at WeatherTech Raceway Laguna Seca. (Photo: Ayrton Ostly/The Californian)
But in 2011, the event hosted by Porsche Cars North America moved west to the hills outside Salinas and Spreckels to Laguna Seca. The popularity of the event increased again in 2015 and the company has settled on the historic track as its new home for the event.
"Choosing the Monterey Peninsula once again for our unique Porsche family reunion builds upon what we learned from previous Rennsport Reunions," President and CEO of Porsche Cars North America (PCNA) Klaus Zellmer said. "The 'Golden State' as a whole has always been like a second home to Porsche."
The fifth reunion in 2015 brought in nearly 60,000 fans to the paddock of Laguna Seca. With an even wider array of cars from the company's history at the track this year for the sixth reunion, attendance will likely only increase.
By air, land and sea
Stop by the Chopard Heritage Display in the center of the paddock and you'll walk through eight decades of racing history, starting with a car from 1939, the Porsche Type 64.
This was the company's first racing car, and fans are welcome to walk up, touch and take pictures of it. World championship-winning cars from the 1960s through current times are all on display in the Chopard Heritage area.
Many of the cars were specially packaged in specific containers and driven from the PCNA's headquarters in Atlanta.
The 1960 Porsche 718 RS 60 Spyder was flown 5,800 miles from the Porsche Museum in Stuttgart, Germany to be on display this weekend at the Rennsport Reunion at WeatherTech Raceway Laguna Seca. (Photo: Ayrton Ostly/The Californian)
In the pits, racecars from as early as 1960 were flown or sailed across the Atlantic Ocean from the Porsche Museum in Stuttgart, Germany. Many of them, like the 1960 718 RS Spyder, had to have specialized containers fitted for the 5,800-mile journey.
Besides the PCNA's large setups, a lot of privateers have their own cars on display. Ecurie Racing, based in Milwaukee, Wis., brought a handful of their Sports Car Club of America (SCCA) racing cars from the 1960s.
"This is like heaven for Porsche enthusiasts," mechanic Aaron Steffenson said. "We look forward to this every three years."
To bring their cars to Salinas, Ecurie Racing loaded up 40- to 50-foot long trailers with some historic cargo and had towers drive the cars more than 2,200 miles over four days. The mechanics and drivers flew in Wednesday to set everything up and be ready for display and driving this weekend.
The Sports Car Club of America (SCCA) style racing cars from the 1960s are what Milwaukee, Wis.-based Ecurie Racing specializes in. The company spent four days driving a handful of historic cars from their shop to WeatherTech Raceway Laguna Seca. (Photo: Ayrton Ostly/The Californian)
Despite the intensive work, it's worth it for Steffenson and the rest of the company.
"We love it," he said. "And we're already thinking of what to bring next time."
A star-studded cast
Though the cars provide plenty of history and eye candy, many significant drivers will be racing Porsches and interacting with fans during the event.
The most successful American endurance driver ever, Hurley Haywood, will be running laps in some of his championship-winning cars, like the Porsche 956 that won the toughest endurance race in the world, the 24 Hours of Le Mans, in 1983.
Fellow winning sportscar racers like Derek Bell, Jacky Ickx, Earl Bamber, Laurens Vanthoor, Dennis Simon, Jeff Zwart, Alwin Springer, Mark Webber and Patrick Long will all take to the Porsche Stage to talk about their experiences and take questions from the audience on Saturday and Sunday. They'll also be lighting up the track, like Haywood who was exceeding 130 miles per hour on the quickest parts of the legendary racetrack.
Tickets for the Rennsport Reunion VI are still for sale online at www.weathertechraceway.com/ticket-information
Children under 15 are free with a paying adult for the rest of the weekend.
The best bottle cap challenge? See for yourself
Future home for local soccer has big first step
Local players finalists for national soccer team
Athletes learn from World Cup stars for free
First look: Salinas High's new turf at the Pit
Salinas coach to be inducted into Hall of Fame

redpajama_set_name: RedPajamaCommonCrawl


These two words are packed with power and insight. When the Lord put them before me they stopped me in my busy ridden tracks. I love how God woos me to His presence ever so gently. He places these two little words in the middle of my roller coaster of a life and just as I'm about to go down says, "Stop and consider me."
In the midst of my problems, He whispers, "Consider me."
In the midst of my joy-filled moments, he says, "Consider me."
In the midst of my stress, He reminds me to be anxious for nothing but bring all things to Him, "My precious child, stop. Stop! Stop and consider me."
There have been many days when I wanted to quit this mom thing. This missionary thing. This being a good Christian thing. This good and patient wife thing. This be a kind friend thing. Most of the time the reasons were selfish; other times it was because it was just too painfully hard. In the midst of it all, He whispers and calls to me saying, "consider me." That has made all the difference, and it has kept me going when I wanted to give up.
I have the honor of working with young girls who are victims of human trafficking. The other day in one of my counseling sessions with one of His sweet precious girls, I began to feel overwhelmed for her. I wondered how in the world would the words that spilled out of my mouth, could really do anything for her.
With all my heart I wished to make it all better. I don't always feel this way as a counselor, but sitting there listening to her aching heart and watching her eyes swell up with tears, I ached for her. I honestly can't even begin to imagine what her life has been like. My compassion took over and drove me to want to make it all better, but I couldn't. I'm only human.
The Lord met me at that very instant and reminded me of His power, His grace, His healing--Consider Me. When I did consider Him, not only was I strong enough to continue but I was also able to guide her to His feet and in return challenge her to consider Jesus.
In the busyness and frustration of life, stop and consider Jesus today. Love Him…and love your neighbor as Jesus loves you.
Mari Hernandez-Tuten is a mother, freelance writer, counselor, speaker, friend, child of God and lover of all things creative. Her husband Ben and three young boys share Christ while serving as missionaries in Ecuador. One of her favorite pastimes is encouraging families from all walks of life through real life inspirational articles found on her online magazine. Stop by and say hello at Inspired by Familia.
I confess that my tendency is to jump before I think. To act or react before praying. To get overwhelmed before I remember who I am in Christ. Today I want to consider Jesus first. Yes, Jesus first. Is there some way FollowOne can help you, your children and your church more effectively use the blessings of God to serve lost and hurting people?


text:
The Top 3 Asian Arts Museums in Paris
Your Trip to Paris: The Complete Guide
The Best Time to Visit Paris
The Airports of Paris
The Best Paris Hotels
Neighborhoods to Know
Driving in Paris
Paris Public Transportation
Tipping in Paris
Itinerary: 48 Hours in Paris
Best Paris Tours
Best Paris Parks & Gardens
Best Museums in Paris
Cabaret in Paris
Live Music in Paris
Shopping in Paris
Bastille Day in Paris
French Dishes to Try in Paris
The Best Restaurants in Paris
Where to Eat With Kids
Craft Beer Bars in Paris
Europe France Paris
Courtney Traub
Courtney Traub has covered Paris and other European destinations for TripSavvy since 2006. She is co-author of the 2012 Michelin Green Guide to Northern France & the Paris Region.
For visitors interested in the artistic traditions and cultural histories of China, Japan, Korea, Vietnam or Southeast Asia, Paris is an unusual treasure-trove. The capital harbors excellent museums whose collections either partially or wholly dedicate themselves to arts from these nations. While these three key museums don't enjoy visits from millions of visitors each year like the Louvre and the Musée d'Orsay do, they remain essential in any full exploration of the Parisian cultural offering. These are rich collections located in quieter areas of the city that are rarely explored by tourists. Keep reading to learn more about what we consider to be the main highlights within these collections, and plunge into fascinating and millennia-long artistic and cultural traditions.
Jean-Pierre Dalbéra from Paris, France (Hokusai au musée Guimet)/Wikimedia Commons/CC BY 2.0
6 Place d'Iéna, 75116 Paris, France
Perhaps the most substantial and celebrated Asian art museum in Paris, the Musée Guimet (National Museum of Asian Arts) is an essential destination for any visitors fascinated with the history of these rich traditions. Its impressive permanent collection boasts some 19,000 works of art and artifacts from greater Asia, with dedicated collections to Japan, China, Korea, Southeast Asia, and even to the arts of the Himalayas.
Meanwhile, well-curated temporary exhibits focus on lesser-known or less frequently considered aspects of Asian arts and culture, such as theatrical traditions.
Musée Cernuschi
Daderot/Wikimedia Commons
7 Avenue Velasquez, 75008 Paris, France
This free museum in Paris opened in 1898 and is one of the capital's oldest municipal museums. It houses a remarkable collection of some 900 pieces of paintings, sculpture, and other artifacts from China, Japan, Vietnam, and Korea. Ancient bronzes such as the Buddha from Japan pictured here, delicate fine ceramics from China, funerary objects, and furnishings, and other stunning works await here. The rich Chinese collection offers a fascinating look at an artistic tradition stretching from the Neolithic period through numerous ancient dynasties through the 7th century A.D., while the Japanese collection focuses on decorative and graphic arts from "Nippon" traditions. While Korean and Vietnamese artistic traditions often get short shrift in many collections, meanwhile, the Cernuschi museum dedicates entire spaces to exploring the rich and distinctive heritage.
The museum is located in the 8th arrondissement, in close reach of the elegant Avenue des Champs-Elysees and the upwardly mobile neighborhoods around it.
Jean-Pierre Dalbera/CC
37 Quai Branly, 75007 Paris, France
A recent addition to the Parisian arts landscape, the Musee du Quai Branly was in part the brainchild of the late former French president Jacques Chirac. As part of its massive (and controversial) permanent exhibition bringing visitors on a "tour" of artistic and cultural practices from the non-Western world, including Africa, Asia, Oceania, and the Americas, the museum houses an impressive and substantial collection of arts from East Asia.
Artifacts from the Miao and Dong ethnic minorities in China, a section on Buddhist art and cultural practices, and objects related to the art of Japanese stencil decorating are among just a few of the many highlights from the eclectic collection. Temporary exhibits are also worth an afternoon's visit, and the lush gardens are idyllic to stroll through during the spring and summer months.
Why This Paris "World Arts" Museum Is Controversial, & Worth A Visit
From Medieval Fortress to Museum: Fascinating Facts About the Louvre
The 6 Best New Museums in Paris: Innovative Spaces
13 Free Museums in Paris: Soak Up Some Art & Culture On a Budget
The Top 10 Museums in Tokyo
These 5 Paris Museums Are Housed in Breathtaking Buildings
The Top 10 Museums to Explore in Pittsburgh
The 9 Best Museums in Dallas
These 5 Impressionist Museums in Paris Are Tributes to Light and Color
The 10 Best Museums in Seoul
The Top 10 Things to Do in Paris's Saint-Germain-des-Prés District
The Top 30 Things to Do in Paris: Our Ultimate Bucketlist
The Paris Museum Dedicated to Fashion Legend Yves Saint-Laurent
Paris in Two Days: Tips and Itineraries for Seeing the Best of Paris
The Top Museums in Sydney
These Are The 10 Best Art Museums in Paris
Best East-Asian Arts Museums in Paris: Top 3 Collections to Explore


A project is displayed in the Project Explorer view and can be stored within the workspace folder or can be a linked resource.
A project must exist in Eclipse before other resources can be imported or linked to that project. The project creation process creates additional configuration files and folders, for example, build properties. These additional files and folders must not be edited or deleted.
A folder is displayed in the Project Explorer view and can be located within the project folder or can be a linked resource.
A file is displayed in the Project Explorer view and can be located within the project folder or can be a linked resource.
Resources can be shared between projects or they can exist in the file system outside of your selected workspace. To do this a link must be created within Eclipse.
A linked file or folder must have a project as its parent resource.
Deleting, moving or copying a linked resource only affects the link in your workspace and not the resource that it links to. However, deleting a child resource from within a linked folder also deletes it from the file system!
To link an existing file to a project in your workspace instead of copying it, you can use the advanced options of the New File wizard. By default the advanced options are not visible, click on the <<Advanced button to reveal them. A path variable can also be used to reference a file. For more information on referencing with path variables, use the dynamic help.
To link an existing folder to a project in your workspace instead of copying it, you can use the advanced options of the New Folder wizard. By default the advanced options are not visible, click on the <<Advanced button to reveal them. A path variable can also be used to reference a file. For more information on referencing with path variables, use the dynamic help.
Eclipse uses the Import wizard to create a link to an existing project. This can be useful if you have a central folder with shared projects. By default, the Copy projects into workspace checkbox is selected to ensure that a copy of your project is placed in your current workspace. If you want to leave your project where it is and create a link to it, you must deselect this option.
You can disable the use of linked resources by changing the General → Workspace → Linked Resources settings in the Preferences dialog box.


My mom has an old painting (a print, I think) called The Pasture which depicts a couple people and some cattle at, of course, a stream...that's something we call "very Adirondacky"; it's as if people made a goal of being as ironic as possible as often as possible in the mountains. Rough-shored ponds are inevitably called Round Pond; almost every motel or cottage up there (and MAN do I wish I was up there right now so I could say here) has paintings of clipper ships or black-and-white photos of Eddie Fisher or desert scenes or wonderful Rockies landscapes...and I'm serious about all of that, even the Eddie Fisher picture. Which makes the irony here that I am NOT at all being ironic...anyway, the whole point of all of this was to say that for some reason the cattle in your picture look exactly like the cattle in that Pasture painting at my parents's place.
Very cool Mike that what you call "Adirondacky" is actually the very type of "atmosphere" if you will I was trying to attain. It's a kind or both ironic and an iconic style that is also seen here Out West in motels, cabins and lodges I suppose in the similar vein of the Adirondacks except more "western" especially if you throw in a few Indian paintings or prints. In any case it's all very American and goes to show that although the images might be regionally different the concept is not.


text:
Argentina's taste for veal complicates beef exporting ambition
Title: Argentina's taste for veal complicates beef exporting ambition
Date: 22nd June 2017
Summary: BUENOS AIRES PROVINCE, ARGENTINA (FILE) (REUTERS) VARIOUS OF CATTLE GRAZING IN FIELD BUENOS AIRES, ARGENTINA (FILE) (REUTERS) VARIOUS OF BARBECUE RESTAURANT (PARRILLA) AND PEOPLE EATING
Embargoed: 6th July 2017 16:27
Keywords: veal beef exports consumers
Location: BUENOS AIRES AND ROSARIO, SANTA FE PROVIINCE, ARGENTINA
City: BUENOS AIRES AND ROSARIO, SANTA FE PROVIINCE, ARGENTINA
Topics: Commodities Markets,Economic Events
Reuters ID: LVA0056MD2ERN
Story Text: Argentina's taste for beef from young calves - viewed as the most tender - is discouraging producers from raising the heavier cattle needed to restore the country's position as a top global beef exporter.
With per capita consumption at nearly 58 kilograms (128 pounds) per year, barbecue-loving Argentines are among the most carnivorous people in the world.
Despite the high consumption level, the number of heavy cattle - the type most demanded by international markets - sent to slaughter houses is relatively low.
That attitude is typical of Argentine consumers, who tend to prefer veal even though it can cost more, said Miguel Schiaritti, president of the Meat Industry and Commerce Chamber.
More than 65 percent of bulls sent to slaughter in Argentina are young and light.
The average weight of a slaughtered animal in Argentina in 2016 was 226 kg. (498 lbs.) per animal, compared with 280 kg. (617 lbs.) and 360 kg. (794 lbs.) in competitors Australia and the United States, respectively, an agricultural consultant said.
Once a top five global beef exporter, Argentina is currently eleventh, according to the U.S. Agriculture Department.
High financing costs and inflation in Latin America's number 3 economy discourage the investment necessary to produce the steers demanded by the global market and prompt the early slaughter of cattle for local consumption, said Adrian Bifaretti, head of the Beef Promotion Institute.
A stronger-than-expected peso versus the U.S. dollar also discourages the production of meat for export, leading producers to avoid heavy cattle with little demand in the domestic market, Bifaretti said.
An animal's age is not the only factor affecting how tender its beef is, said Schiaritti, noting that the amount of time a carcass spends in a refrigerator before being shipped to market also has an impact.
Copyright Holder: FILE REUTERS (CAN SELL)


text:
// Template Source: BaseEntity.java.tt
// ------------------------------------------------------------------------------
// Copyright (c) Microsoft Corporation.  All Rights Reserved.  Licensed under the MIT License.  See License in the project root for license information.
// ------------------------------------------------------------------------------

package com.microsoft.graph.models;
import com.microsoft.graph.serializer.ISerializer;
import com.microsoft.graph.serializer.IJsonBackedObject;
import com.microsoft.graph.serializer.AdditionalDataManager;
import java.util.EnumSet;
import com.microsoft.graph.http.BaseCollectionPage;
import com.microsoft.graph.models.OrganizationalBrandingProperties;
import com.microsoft.graph.requests.OrganizationalBrandingLocalizationCollectionPage;

import com.google.gson.JsonObject;
import com.google.gson.annotations.SerializedName;
import com.google.gson.annotations.Expose;
import javax.annotation.Nullable;
import javax.annotation.Nonnull;

// **NOTE** This file was generated by a tool and any changes will be overwritten.

/**
 * The class for the Organizational Branding.
 */
public class OrganizationalBranding extends OrganizationalBrandingProperties implements IJsonBackedObject {

    /**
     * The Localizations.
     * Add different branding based on a locale.
     */
    @SerializedName(value = "localizations", alternate = {"Localizations"})
    @Expose
	@Nullable
    public com.microsoft.graph.requests.OrganizationalBrandingLocalizationCollectionPage localizations;

    /**
     * Sets the raw JSON object
     *
     * @param serializer the serializer
     * @param json the JSON object to set this object to
     */
    public void setRawObject(@Nonnull final ISerializer serializer, @Nonnull final JsonObject json) {

        if (json.has("localizations")) {
            localizations = serializer.deserializeObject(json.get("localizations"), com.microsoft.graph.requests.OrganizationalBrandingLocalizationCollectionPage.class);
        }
    }
}

redpajama_set_name: RedPajamaGithub


JOIN US FOR OUR VERY FIRST WORKSHOP!
As promised, I'm back in the saddle and ready to start a new adventure using social media! So, thank you for bearing with me while I get the hang of it.
In the meanwhile, check out some of my new creations and tell me what you think. Your opinion matters and helps me on my never ending journey to become a better artist.
The following are pictures of "Pour Paintings", which has become my new passion! There are endless techniques to create this type of artwork, there will never be two pieces exactly the same and it's great fun at any age.
Classes are available by appointment and can be done almost anywhere. Get a group of friends together and have a paint party. You'll have lots of fun and earn some really cool stuff too!! I love teaching these classes and have a flexible schedule in which to do so.
You may wonder where the name "Katelf" came from. Well, it's rather simple; it is the result of a 7th grade art project in which the assignment was to come up with a name to sign to ones artwork. Using the nickname of "Kate" and adding "l" "f" to represent the remaining letters of my full name, "Katelf" had arrived and the name has been used in my artwork ever since.
You may have seen some "Katelf" artwork at one of various art and craft shows held around Wisconsin. In addition to woodburned originals and decorative gourds, Katelf sells gourd birdhouses, luminaries, dream catchers, woodburned jewelry, wind chimes, decorative signs and recycled artwork.
The studio is located south of Lodi, Wisconsin, nestled in the country on Coyle Rd., just off of Highway 113 between Lodi and Dane. Follow the signs up Coyle Rd. which will direct you right to the door.
If you enjoy a friendly country atmosphere, this is the place for you. Please see map to Katelf Family & Friends Shop and Studio for the exact location.
Currently, the studio features the wonderful artwork of family members and friends; there is a great deal of talent and variety here, plus prices are reasonable with many ever-changing gift items available.
Keep an eye on the Katelf calendar for upcoming classes, or come to the studio and check it out and sign-up for a workshop. We will have more classes to be scheduled for the upcoming months: See shop and studio calendar for current hours and workshops.
There will be more surprises to come in the future, so check back often to see what we're up to next!
Email or call Cathy at (608) 219-4299, if you have any comments or questions, or if you'd like to schedule a workshop personalized for your group!


text:
package org.oscm.test.data;

import org.mockito.Mockito;

import org.oscm.accountservice.assembler.BillingContactAssembler;
import org.oscm.accountservice.assembler.PaymentInfoAssembler;
import org.oscm.dataservice.local.DataService;
import org.oscm.domobjects.BillingContact;
import org.oscm.domobjects.Organization;
import org.oscm.domobjects.PaymentInfo;
import org.oscm.domobjects.PaymentType;
import org.oscm.i18nservice.bean.LocalizerFacade;
import org.oscm.i18nservice.local.LocalizerServiceLocal;
import org.oscm.internal.types.exception.NonUniqueBusinessKeyException;
import org.oscm.internal.types.exception.ObjectNotFoundException;
import org.oscm.internal.vo.VOBillingContact;
import org.oscm.internal.vo.VOPaymentInfo;

public class PaymentInfos {

    public static VOPaymentInfo createVOPaymentInfo(Organization customer,
            DataService mgr, PaymentType paymentType)
            throws NonUniqueBusinessKeyException, ObjectNotFoundException {
        String paymentName = paymentType.getPaymentTypeId()
                + System.currentTimeMillis();
        return PaymentInfoAssembler.toVOPaymentInfo(
                createPaymentInfo(customer, mgr, paymentType, paymentName),
                new LocalizerFacade(Mockito.mock(LocalizerServiceLocal.class),
                        "en"));
    }

    public static PaymentInfo createPaymentInfo(Organization customer,
            DataService mgr, PaymentType paymentType)
            throws NonUniqueBusinessKeyException, ObjectNotFoundException {
        String paymentName = paymentType.getPaymentTypeId()
                + System.currentTimeMillis();
        return createPaymentInfo(customer, mgr, paymentType, paymentName);
    }

    public static PaymentInfo createPaymentInfo(Organization customer,
            DataService mgr, PaymentType paymentType, String paymentName)
            throws NonUniqueBusinessKeyException, ObjectNotFoundException {
        PaymentInfo paymentInfo = new PaymentInfo();
        paymentInfo.setExternalIdentifier("pspId");
        paymentInfo.setPaymentInfoId(paymentName);
        Organization organization = mgr.getReference(Organization.class,
                customer.getKey());

        paymentInfo.setOrganization(organization);
        paymentInfo.setPaymentType(paymentType);
        mgr.persist(paymentInfo);
        return paymentInfo;
    }

    public static BillingContact createBillingContact(DataService mgr,
            Organization organization) throws NonUniqueBusinessKeyException {
        String billingName = organization.getOrganizationId()
                + System.currentTimeMillis();
        return createBillingContact(mgr, organization, billingName);
    }

    public static BillingContact createBillingContact(DataService mgr,
            Organization organization, String billingName)
            throws NonUniqueBusinessKeyException {
        BillingContact billingContact = new BillingContact();
        billingContact.setEmail("setEmail@setEmail.de");
        billingContact.setAddress("adress");
        billingContact.setCompanyName("companyname");
        billingContact.setOrganization(organization);
        billingContact.setBillingContactId(billingName);
        mgr.persist(billingContact);
        return billingContact;
    }

    public static VOBillingContact createBillingContact(
            Organization organization, DataService mgr)
            throws NonUniqueBusinessKeyException {
        String billingName = organization.getOrganizationId()
                + System.currentTimeMillis();
        BillingContact bc = createBillingContact(mgr, organization, billingName);
        return BillingContactAssembler.toVOBillingContact(bc);
    }

    public static PaymentType findPaymentType(String paymentTypeName,
            DataService mgr) throws ObjectNotFoundException {

        PaymentType pt = new PaymentType();
        pt.setPaymentTypeId(paymentTypeName);
        return (PaymentType) mgr.getReferenceByBusinessKey(pt);
    }
}


text:
August 15, 2016 August 15, 2016 Liz Ward1 Comment on Project Ghibli #5: Gauche The Cellist
Project Ghibli #5: Gauche The Cellist
Gauche The Cellist is another Isao Takahata directed film, still made before the formation of Studio Ghibli. We're one more film away from the formation of the studio (next week it's Nausicaa of the Valley of the Wind), and I'm looking forward to finally seeing how things progress from the five films we've just watched, to a more recognisable Studio Ghibli style.
Original Release: 23rd January 1982.
Director(s): Isao Takahata.
Producer(s): Kôichi Murata.
Screenwriter(s): Kenji Miyazawa (novel), Isao Takahata.
Alternative Title(s): セロ弾きのゴーシュ, Sero Hiki no Gōshu.
This film was wholly unlike the previous offerings from Takahata. Takahata picks interesting projects – whatever you might think about The Little Norse Prince or Chie The Brat, they were at least interesting. With Gauche the Cellist, Takahata has changed style and story again, and I'm happy to say that it was a beautiful, dreamy, and funny film about a cellist growing into his talent. Based on a poem by Kenji Miyazawa, Takahata wrote and adapted it for the screen.
Gauche is a diligent but faltering cellist, a member of The Venus Orchestra (a small-town orchestra), who also perform at cinemas during films – they are practising for a performance of Beethoven's Sixth Symphony (the Pastoral Symphony). The film is set in the early twentieth century. The conductor of the orchestra is frustrated with Gauche's performances, urging him to get better or leave the orchestra.
As a result, we see Gauche return to his rural mill house, determined to practice day and night to improve his playing. Over the course of four nights, Gauche is visited, in turn, by a cat, a cuckoo bird, a raccoon, and finally, a mouse and her baby. Each of them ask him to play something for them, for different reasons, thereby putting Gauche through his paces. Gauche is annoyed and incredulous by these visitations, especially as the animals are anthropomorphised and can speak to him.
However, these visitations soon work their magic and Gauche improves, to the extent that he can finally keep up with the rest of the orchestra. At the penultimate performance, the audience calls for an encore, and the conductor is so impressed with his improvement that he pushes Gauche onto the stage to perform something alone. Gauche, believing that they are all making fun of him, decides to perform the piece he did for the visitation of the cat (Tiger Hunt in India), and everyone is spellbound and impressed. Gauche finally understands that the animals have pushed him to become a better musician, and he is grateful for their lessons.
The film's animation style is reminiscent of Takahata's most recent Ghibli film, The Tale of Princess Kaguya – the colours are washed out and realistic, no bright, saturated colours, and yet detailed, like a fine painting. There is a dreamlike quality infused into the artwork and scenery too, a celebration of nature and the elements. In this film, we can see that Takahata has developed and grown as a director and storyteller, creating a film that is transcendent and soulful.
The film, on first look, seems to be a parable, a story of how to listen or look more closely at the work you are studying or doing, to find the soul and essence of it. In the beginning, Gauche understands the rudiments and the technical aspects of playing his instrument, but the conductor accuses him of not understanding or displaying the emotion within the piece of music they are practising.
Each of the visitations of the animals has a purpose – Gauche believes he is teaching the cat a lesson when he plays Tiger Hunt in India, rather than the Schumann piece the cat requests. He digs deep down into the piece of music, with wild abandon, frightening the cat with the ferocity of his playing. It is in this way that Gauche begins to connect the music he plays with emotions. His incredulity and gruffness crack, and he begins to listen to what the animals are telling him, and teaching him.
Yet there are many things going on in the film – which is just over 63 minutes long – a look at obsession (Gauche's obsession to master his instrument, and his slight obsession with Beethoven), at nature and the role it plays in creativity, how important emotion and soul are in creativity, and how sometimes, we need to ask for help. There are some intensely beautiful sequences where the orchestra is playing, and the music becomes one with nature. In one such scene, they are playing Beethoven's Pastorale, and the walls of the studio melt away, and the music and playing becomes one with the storm raging outside.
It isn't a film full of action, romance, or anything that we would expect from a Hollywood blockbuster. This is a beautiful, quiet, meditative piece of film-making. It's inspiring and full of quiet, intimate moments where we get a glimpse of the inner state of a character. Takahata has truly created a beautiful film here, and unlike the previous film (Chie the Brat), this felt like something he can be proud of.
There are emerging themes that crop up in later Studio Ghibli films, particularly the pre-WWII focus on idyllic country living and a slower, less hectic pace of life, plus a look at nature and human interaction with nature. There are deeper themes in comparison to previous offerings by both Takahata and Miyazaki, and a developing sense of storytelling. I wholeheartedly recommend Gauche the Cellist, especially if you like Takahata's later films.
Next up is a pre-Ghibli Studio Ghibli film (!), Miyazaki's Nausicaa of the Valley of the Wind, the final standalone film before the formation of the studio itself.
Categories Film, Project Ghibli, ReviewsTags Project Ghibli, Studio Ghibli, Takahata
1 thought on "Project Ghibli #5: Gauche The Cellist"
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Previous Late Night Poetry #1
Next Monday Night Inspiration: Refilling the Well


Ahlam (or Ahlem) Mosteghanemi (Arabic: أحلام مستغانمي), is an Algerian writer who has been called "the world's best-known arabophone woman novelist".
Ahlem was born in Tunis. She is the daughter of a militant political activist who was forced into exile during the Algerian liberation war. In the wake of independence, her family moved back to Algeria, where her father, an intellectual and a humanitarian, occupied high positions in the first Algerian government. He launched an alphabetization campaign all over the territory and supervised the distribution of agricultural land to the poorest.


What? You mean this doesn't look like your typical samosa? Well, that's because it isn't. Unlike most Indian veggie pastries often cased in dried and crumbling parcels, this crust is flaky, delicate, and tears more like a golden-browned crescent roll stuffed with fluffy potatoes that have been whipped, spiced, and jeweled with plump peas--perfect for dunking into an accompanying coriander or tamarind chutney.
From the waterfall at the entrance, to the cool electric lounge, to the soothing yet vibrant dining room, to the recipes themselves, everything at Mint is precisely that... mint. Often, Indian food is associated with heat, the unique and exotic spices, and the resulting fire that unfortunately often scares away newcomers, and often overpowers the nuances and flavors of the main ingredients. Mint Restaurant and Lounge, however, is a refreshing departure from the daredevil spices and tongue-numbing curries. Chef Gary Sikka has deliciously crafted a menu that maintains the integrity of traditional Indian cuisine, executing the dishes with a subtlety and awareness that should please lovers of Indian cuisine, yet graciously welcome newcomers to what can oftentimes be considered a polarizing culinary style. It was a pleasant surprise to enjoy great renditions of some of my favorites without being forced to ask the server for extra napkins simply to wipe sweat and tears from my face.
A must-order for the table is the "Chilly Fish"--enormous cubes of sea bass marinated overnight in yogurt, rendering the fish extremely tender, juicy, and sweet, almost like jumbo pieces of lobster tossed in a tangy, herbed bell pepper sauce.
Another great starter, Bombay Masala Pao resembles a spiced bruschetta, with vibrant and chunky tomato spread on buttery focacia-like toast points.
The Aloo Methi Tikki is a jazzed up version of potato pancakes, instead spicy potato fenugreek fritters topped with stewed chick peas and dipping ramekins of mint and tamarind chutney.
Entrees arrive at the table in heaping bowls ideal for sharing family-style. The sauces are decadent, thick, and creamy... and generously loaded with meat and seafood. The chicken tikka masala rivals any in town. The saag paneer is excellent, with inch-sized cubes of mild, soft Indian cheese accenting a creamed spinach so rich in flavor, you'll never order it in a steakhouse again. Tender stewed lamb rounds out a mildy spiced yet brightly flavored dahiwala in a pumpkin colored yogurt curry. Tear away pieces of their steaming, fluffy naan bread and pinch up finger sandwiches of a variety of dishes shared by the table for a true sampling of the best of what Mint has to offer.
But the real standouts at Mint are the meats and seafoods ever so perfectly grilled. The cubes are some of most delicious I have ever enjoyed. The secret? They are marinated in yogurt with few spices, trapping in the the flavors and moisture, and adding an unparalleled juiciness that makes even simple chicken skewers a real standout. But again here, the most exciting dish was this sea bass tikka masala glistening in a charred fenugreek tomato glaze.
And no Indian feast is complete without gulab jamun, created by frying a special blend of dough and mild Indian cheeses into a warm, golden orb, which arrives at the table in a pool of rosewater syrup, like a honey-soaked oversized donut hole. The perfect ending to a fantastic meal!
Wow. So often I stick to my usual dishes at Indian restaurants, but this is a very inspiring post. I've definitely got a new place and some new dishes to check out now!


text:
Q: Sensu check for jvm heap not working I am facing issues with sensu-plugins-java. I have installed plugin in our server and I need to use check-java-heap-pcnt.rb to monitor the heap size in our server, but it is not showing proper output when I try to run the check locally.
Here's how I tried to run the check locally:
# ./check-java-heap-pcnt.rb -n java -w 70 -c 85 -j /usr/java/defaults/bin/ -p

Here's the output it generated:
    invalid argument count
Usage: jstat -help|-options
       jstat -<option> [-t] [-h<lines>] <vmid> [<interval> [<count>]]

Definitions:
  <option>      An option reported by the -options option
  <vmid>        Virtual Machine Identifier. A vmid takes the following form:
                     <lvmid>[@<hostname>[:<port>]]
                Where <lvmid> is the local vm identifier for the target
                Java virtual machine, typically a process id; <hostname>is
                the name of the host running the target Java virtual machine;
                and <port> is the port number for the rmiregistry on the
                target host. See the jvmstat documentation for a more complete
                description of the Virtual Machine Identifier.
  <lines>       Number of samples between header lines.
  <interval>    Sampling interval. The following forms are allowed:
                    <n>["ms"|"s"]
                Where <n> is an integer and the suffix specifies the units as
                milliseconds("ms") or seconds("s"). The default units are "ms".
  <count>       Number of samples to take before terminating.
  -J<flag>      Pass <flag> directly to the runtime system.
(standard_in) 1: syntax error
MEM UNKNOWN -

A: Download the nagios plugins from
https://kb.op5.com/display/HOWTOs/Jboss+Monitoring+with+check_jmx
and use with sensu.
Name:- check_jmx
For thread cound command:-
./check_jmx -U service:jmx:rmi:///jndi/rmi://'servername':'port'/jmxrmi -O java.lang:type=Threading -A ThreadCount  -K 9200 -w 250 -c 300
For Heap Memory:-
./check_jmx -U service:jmx:rmi:///jndi/rmi://'servername':'port'/jmxrmi -O java.lang:type=Memory -A HeapMemoryUsage -K used -I HeapMemoryUsage -J used -vvvv -w 102400 -c 81290


Siemens Process Industries & Drives Division is pleased to bring you the enhanced HydroRanger 200 HMI ultrasonic level controller for measurement in a wide range of industrial applications including water/wastewater monitoring and pumping, inventory management, truck load-outs, and open channel monitoring.
Enhancements include faster commissioning with an improved HMI (Human Machine Interface) and graphical Quick Start Wizards as well as a redesigned enclosure with removable terminal blocks and wider communications.
The HydroRanger 200 HMI provides high performance measurement of level, flow, differential level, and volume conversion, with additional alarm and pump control functions. Siemens' patented Sonic Intelligence signal processing technology differentiates between true and false echoes from obstructions or electrical noise, giving users repeatable, fast, and reliable measurements.
Siemens is making it easy for you to see the benefits this instrument has to offer. As a loyal customer, they are offering you a 15% discount toward the purchase of the enhanced HydroRanger(s) 200 HMI version.
Call Ives Equipment at 877-768-1600 to place your order.
(Offer valid until December 31, 2016).


text:
Scenes from one of Blackpool's worst town centre tragedies when a popular cafe crumbled to the ground
Big new model attraction planned for Blackpool town centre
Investigation begins into death of brave Blackpool man who drowned trying to save struggling woman
An investigation into the death of an 'heroic' young Blackpool man will examine video footage of lifeboat crews' frantic attempts to save him.
By Wes Holmes
Updated Thursday, 2nd December 2021, 3:08 pm
A pre-inquest review into the death of Alex Gibson, who drowned off the coast of Blackpool in the early hours of July 30, opened at the Town Hall today.
Mr Gibson, 22 of Park Road, is believed to have entered the water near the Metropole Hotel in the early hours of the morning after being alerted to a woman in trouble.
A major rescue operation involving coastguard teams from Fleetwood and Lytham, RNLI volunteers from Blackpool and Fleetwood, and a rescue helicopter was launched. The woman managed to swim to shore, but tragically Mr Gibson lost his life.
Alex Gibson
READ: Blackpool man, 22, dies after jumping into sea to save struggling woman
His inquest, which is scheduled to begin on January 21, will hear evidence from two of his friends, who spent a night out with Gibson shortly before his death.
A pathologist, a senior investigating police officer, a female witness, an RNLI lifeguard and two strangers who noticed Mr Gibson in the water and called 999 will also be called.
The court heard that video footage from the RNLI's rescue operation would also be obtained, however, coroner Alan Wilson said: "It does seem that sadly, by the time they arrived, (Alex) was not in a survivable position."
Alex's father, Alexander Gibson, said: "I just need to know what happened that night. We don't know why, we don't know how. We want to get through this as soon as possible."
Thanks for reading. If you value what we do and are able to support us, a digital subscription is just £1 for your first month. Try us today by clicking HERE.
BlackpoolRNLITown HallFleetwood
Bus services diverted after 'two-vehicle' crash in Ansdell


Error: [DBNETLIB] SQL Server does not exist or access denied.
If it is the first time running HRPro Desktop Client on that workstation.
1. Make sure the SQL Server Name, System Database, SQL User ID and SQL User Password is correct.
If this is not the first time running HRPro Desktop Client on a workstation.
The system database and application database is accessible.
P.S. If the HRPro desktop client is installed on a Windows 10 desktop, and the error occurred just after the Windows 10 is upgraded to Windows 10 build 1803 (run winver from search box to determine the Windows build version) by Windows Update, then it is because the security control of Windows 10 build 1803 blocked the network connection of the HRPRO.EXE that started from an untrusted location (i.e. the network shared folder using SMB1.5 or below). Copy the HRPro shared folder to local hard disk and start HRPro from the local hard disk is a workaround.


We are a family owned business that is committed to putting the customer first. We provide a quick turnaround, interact with you on a personal level, and tailor our services to meet your specific needs.
We provide accurate and precise results by following the handling, analysis, calibration and calculation procedures laid out in the latest GPA, API and ASTM standards.
We maintain detailed records of the certified calibration standards, instrument maintenance and calibration, procedures and methods and customer's results history are retained to provide verification of our analyses.
Natty Gas Lab specializes in performing natural gas analysis using gas chromatography. We are committed to providing analytical results that are both accurate and precise by following the handling, analysis, calibration and calculation procedures laid out in the latest GPA standards.


Early in the West Linn City Council's discussion of general obligation (GO) bond funding allocations Monday, Dec. 17, City Manager Eileen Stein said her hope was to receive firm direction on one project — approximately $75,000 worth of upgrades at the McLean House — while continuing to discuss other more complicated efforts.
More than two hours later, Stein was still looking for an answer on the McLean House. In the end, the council's decision maintained the common theme of the night: "Now is not the time."
"To make another decision now doesn't make sense," City Councilor Rich Sakelik said. "We don't need to allocate any more funds. It's not like (the project) is going to get done tomorrow, nor does it need to."
The council's goal Monday night — in what was the last meeting of the year before two new councilors arrive in January — was to take another step toward allocating approximately $2.5 million for city facility projects. The GO bond, which was approved by voters in May, is expected to generate around $19 million in funding for three project categories determined by the council: facilities, transportation and parks.
At a Dec. 3 meeting, the council signed off on several projects — including work at government buildings like City Hall, the police station and the library — for a total of $1.1 million. On Dec. 10, councilors approved a letter of intent with the Willamette Falls Heritage Area Coalition regarding the latter's future use of the old city hall building, and that letter promised to reserve $400,000 in GO bond funds for the project.
That left about $1 million on other "non-governmental" buildings like Robinwood Station, the old Bolton Fire Station and the McLean House. The distinction between government and non-government buildings was necessary because the City chose to use a government bond (the other option was "nonprofit").
Governmental bonds — which are known to generate higher yields for cities that use them — allow just 10 percent of proceeds to be used for either nonprofit or for-profit investment. That means the City can't spend more than $1.9 million on the non-government buildings that were the center of discussion Monday.
The Robinwood and Bolton Stations are both in need of significant renovations that would allow nonprofit groups to operate community centers out of them. The McLean House, meanwhile, is in need of a new paint job and improvements related to accessibility.
A recent assessment from consultants at the Mackenzie group estimated that the needed improvements at Robinwood Station would cost about $1.4 million, while a consultant hired by Bolton neighborhood volunteers pegged that building's needs at around $1.3 million.
"Both community centers are of interest, for sure, but we're going to have to make a hard decision on those because we can't do everything to everything in this pool," Mayor Russ Axelrod said. "I want to have a sit down or establish a process with staff and (community) groups to look at ideas about repairs and improvements and winnow those down to what we can do to best serve the communities."
Specifically, councilors hope to have more of a direct dialogue with staff and volunteers about how to approach and fund the needed repair work at the buildings. They also hope to explore grant funding for other facility projects that might free up additional monies.
Axelrod said that the Mackenzie report on Robinwood Station appeared to contain "a lot of superfluous stuff" and that he believed the project could come down to a range of $600,000-$800,000. Meanwhile, he said the goal for Bolton — which differs from Robinwood in that it is not an active community center — should be to find enough funding to "make it usable."
City Councilor Rich Sakelik noted that the overarching bond allocations — $2.5 million for facilities, $13 million for transportation and $3.5 million for parks — weren't fixed and said the council should slow the deliberation process.
"We're going about this the wrong way. We haven't done our due diligence," Sakelik said. "We haven't put together a plan. We need a 2, 3, 4-hour work session."
During that planning process, Sakelik said the City could include the volunteer groups associated with the buildings and learn more specifics about exactly what is needed and how much it would cost.
City Council President Brenda Perry said excessive focus has been place on community centers.
"I feel like if I asked people, 'What do you want to spend 10 percent (of the bond) on?' they would not say two small community centers," she said. "I love these little facilities, but I'm shocked at the thought of spending a couple million (on them) when we have such limited resources."
Martin felt there was one critical difference between the Robinwood and Bolton stations.
"With Robinwood, they sort of proved they would use it as a community building ... they earned that community center," Martin said. "Perhaps Bolton would do the same thing, but I almost feel like, in fairness, they need to earn it as well."
"We should ask people what they're going to do," Sakelik said. "Let's have information so we can make a good decision."


The use of patterned glass in homes and business premises is becoming increasingly popular among Melbourne architects and interior designers. Not only does it offer instant aesthetic appeal, but patterned glass can also enhance privacy and security.
Designs are embedded into the glass surface through a process called sandblasting, whereby a stencil is placed on the glass pane and is then blasted with sand to create the pattern. By slowly and gradually removing the stencil in the process, you produce the depth and shading in the glass that makes it look so appealing.
When you need glass sandblasting in Melbourne's south east, you can trust Orient Glass & Glazing to deliver first-class results each and every time.
Interested? Give us a call or Check our Latest Projects.
The scope of what Orient Glass & Glazing is able to do with sandblasting is limited only by your imagination. Whether you have a specific custom design in mind or you want to see previous examples of our expertise in this area for extra inspiration, we will do what we can to bring your designs to life.
We are able to offer superior-quality glass sandblasting to Melbourne homes and businesses in Dandenong, Frankston, and surrounding areas. For more information, get in touch with us online or call (03) 9799 1563.
Orient Glass & Glazing Pty Ltd is your one-stop shop for anything glass-related. Just get in touch with our friendly staff today on 03 9799 1563 to find out what we can do for you.


text:
Pleasantville, NJ, Woman Charged in Connection to Man's Drug-induced Death
Chris Coleman Published: July 6, 2022
39-year-old Michele Baker of Pleasantville NJ - Photo: Ocean County Prosecutor's Office
Authorities in Ocean County say a woman from Pleasantville has been charged in connection to the death of a South Toms River man in April.
Ocean County Prosecutor Bradley Billhimer says late last month, 39-year-old Michele Baker was charged with strict liability drug-induced death, plus distribution of heroin/fentanyl, possession of heroin/fentanyl with intent to distribute, and possession of heroin/fentanyl.
On April 19th, South Toms River officers responded to a home on South Main Street for the report of an unresponsive man. There, they found the body of a 44-year-old victim who was already dead from an apparent drug overdose.
Billhimer's office says an investigation determined Baker had sold heroin and fentanyl to the victim the day before and heroin and fentanyl were found in the victim's system.
A warrant was issued for Baker's arrest on June 21st and she was arrested on June 26th by officers with the Howell Township Police Department on an unrelated shoplifting charge.
Baker was initially being held in the Monmouth County Jail before being transported to the Ocean County Jail on the 4th of July, which is where she remains.
Beautiful sunflower fields to visit in NJ 2022
Among reasons why the "Garden State" remains a fitting nickname for New Jersey — late summer means the arrival of sunflower season.
There are at least six fields, spanning the state. Some are in bloom as of early August, while others are planned to peak from late August to late September.
Calling or emailing before heading out is always advisable if weather appears to be an issue.
You're spending how much?! NJ cities with the highest monthly household bills
According to doxo, when it comes to monthly household bills, people in New Jersey are paying 30.3% above the national average. Here's where it costs the most to live each month.
Source: Pleasantville, NJ, Woman Charged in Connection to Man's Drug-induced Death
Filed Under: Atlantic County NJ News, Ocean County, Ocean County NJ News, Pleasantville, Pleasantville NJ News, South Toms River, South Toms River NJ News
Delicious! Brand New Italian Restaurant Just Opened Up in Ocean County, NJ
Free Food Distribution Event This Week In Pleasantville, NJ
Big News This Week at Adventure Crossing USA in Jackson, NJ
Ocean County, NJ, Man Indicted For Aggravated Manslaughter


text:
Q: Interactive, Selectable and scrollable Items in Console Application in .NET Core like Yeoman console Does anybody have an idea about how create Intractive and selectable items in Console ?
When you install yeoman as node.js package and call it from command line with 'yo',
They show us a list of scrollable items that can choose with up down arrow keys.
Is there anyway for this purpose any code or library ? (in .NET Core)

A: They key parts of the solution are:

*

*You can use Console.ReadKey() to detect pressing of arrow keys

*You can use Console.CursorTop to read and write the current cursor position

Using those two, here is a very simple code that does what you want:
int optionsCount = 5;

int selected = 0;

bool done = false;

while (!done)
{
    for (int i = 0; i < optionsCount; i++)
    {
        if (selected == i)
        {
            Console.ForegroundColor = ConsoleColor.Cyan;
            Console.Write("> ");
        }
        else
        {
            Console.Write("  ");
        }

        Console.WriteLine(i);

        Console.ResetColor();
    }

    switch (Console.ReadKey(true).Key)
    {
        case ConsoleKey.UpArrow:
            selected = Math.Max(0, selected - 1);
            break;
        case ConsoleKey.DownArrow:
            selected = Math.Min(optionsCount - 1, selected + 1);
            break;
        case ConsoleKey.Enter:
            done = true;
            break;
    }

    if (!done)
        Console.CursorTop = Console.CursorTop - optionsCount;
}

Console.WriteLine($"Selected {selected}.");


text:
Get to Know: Tirreno-Adriatico
Once a training ground for Milan-San Remo, this stage race now also draws racers targeting May's Giro d'Italia
By Joe Lindsey
The 2013 edition of Tirreno-Adriatico saw days of cold rain. (RCS/Fabio Ferrari)
Dates: March 12–21, 2014
Italian races in particular seem to always have a colorful nickname: Milan-San Remo is La Primavera, Giro di Lombardia is the Race of the Falling Leaves , and so on. Tirreno-Adriatico is no different: It's the Race of the Two Seas. Here's a look at this prestigious WorldTour stage race.
Among top stage races, Tirreno-Adriatico is actually not that old: 2014 will be the 49th edition. The race began in 1966 as a three-stage event. In the early years, it was often a fairly flat affair suited to sprinters. In fact, in the first edition, second-place finisher Vito Taccone was actually tied on time with winner Dino Zandegu, who took the win by virtue of his higher stage placings.
Traditionally, the race served as a preparatory event in advance of Milan-San Remo. Racers had trouble getting in big mileage to prepare for San Remo's unmatched length (about 300km) thanks to its late-March spot on the calendar.So Milan-San Remo promoter RCS Sport (which also runs the Giro d'Italia) created Tirreno-Adriatico, with at least one long stage intended to give riders a feel for the seven- to eight-hour odyssey of Milan-San Remo.
Although modern training techniques make racing to train less important, that tradition holds even today. In 2013, two stages were 230km or longer and in 2014 there's a 244km stage.
Tirreno-Adriatico has also added individual time trials, team time trials, and various climbing stages in the past two decades (the 2012 and 2013 editions in particular were tough) and sprinters no longer vie for overall victory. As much as a prep event for Milan-San Remo, Tirreno now offers a key early season tune-up for stage racers, particularly those who are targeting May's Giro d'Italia.
Generally, stage race names are pretty descriptive (the route of Paris-Nice goes from Paris to Nice, for example). Tirreno-Adriatico is no different, always starting on the western, Tyrrhenian sea of Italy and bisecting the country to the finish on the Adriatic coast.
As in 2013, the 2014 Tirreno-Adriatico is bookended by a pair of time trials. A twisty, technical 18.5km team time trial kicks things off on in the coastal town of Donoratico. That will offer up an early leader and set the tone for the first few stages. The race ends with a dead-flat 9.1km individual TT, with far fewer corners, in the Adriatic seaside village of San Benedetto del Tronto.
In between, the race route marches east, albeit not in a straight line. The key road stages this year come in the middle of the race. Stage 4, the San Remo prep stage, is 244km long with three medium-length climbs, including a finish up to the Selvarotonda ski resort with a maximum gradient of 10 percent (and a much more humane average of 5.3 percent).
The tricky Stage 5 is 192 up-and-down kilometers with one big climb, the Passo Lanciano, followed by a fast descent before a short but brutally steep climb to the finish in Guardiagrele, with pitches near 25 percent. It's not as bad as the 27 percent ramps of the Porto Sant'Elpidio stage last year, but it's close.
Spring in Italy can be a bit wild. Last year in particular was cold and wet. This winter has seen milder temperatures, but still a lot of rain in certain regions. The 2013 edition saw several miserably rainy stages and riders have to be hoping for drier, and maybe warmer, weather this year. Forecasting more than a week out is dicey work, but right now the long-range looks promising, with sun and temperatures mostly in the 50s.
Riders to Watch
While Paris-Nice has attracted some of the top stage-race talent, Tirreno still boasts a who's-who start list of contenders. After the withdrawal of Sky's Chris Froome due to back pain, Richie Porte was named the team leader.
He'll face off with Movistar's Nairo Quintana and BMC's Cadel Evans, both of whom are targeting the Giro d'Italia. Other top threats include Rigoberto Uran and Michal Kwiatkowski (Omega Pharma–Quick-Step), Astana's Michele Scarponi, the Belkin duo of Bauke Mollema and Robert Gesink, and young gun Andrew Talansky of Garmin-Sharp.
The race will also be a key test for Lotto-Belisol's GC captain Jurgen van den Broeck and Sky's Bradley Wiggins, both of whom are attempting to rebound from tumultuous 2013 seasons. Wiggins, however, is set to ride in service of Richie Porte.
Classics legend Roger de Vlaeminck holds the record for most wins, with six. Not only that, he won all six in a row, from 1972 to 1977.
Tirreno-Adriatico is one of the few races that Eddy Merckx never won. He placed as high as second, in 1976.
Since the second edition, the race has always ended in San Benedetto del Tronto, much as the Tour de France always ends in Paris.
Because of its original role as a prep race for Milan-San Remo, Tirreno occupies a nearly identical mid-March spot on the calendar to Paris-Nice. Traditionally, stage racers went to Paris-Nice and sprinters to Tirreno. Now that the two races are more similar, there's talk of moving Tirreno so they don't conflict. Both are WorldTour events, which means top teams must send squads to both races at once.
No American has ever won Tirreno; Chris Horner finished second in 2012. Cadel Evans is the only native English-speaking winner (2011).
Vincenzo Nibali Wins 2013 Tirreno-Adriatico
Contador Leads Tirreno-Adriatico After Stage 5 Win


A tradesman insurance policy tends to offer highly specialised cover for the business or trade undertaken. Obviously the larger the business the more specialised this cover tends to be but the following tend to be offered by most policies, either as standard cover or optional extras..
Public Liability Insurance: covers you or your business against claims resulting from the injury or death of a third party, or damage to third party property which resulted from your businesses' activities.
Professional Indemnity Insurance: Normally appropriate if you give paid advice to your customers - trades ranging from consultants and quantity surveyors to financial advisors require this type of cover in case you face a claim that you gave inappropriate or poor advice or that the information you provided was wrong. Covers both the financial costs for the resulting damage caused and the legal costs for defending such a claim.
Building Insurance: Covers business premises much in the same way House Building Insurance works.
Business and / or Office Equipment Cover: If equipment you use in your business is accidentally damaged, stolen or lost. Would normally only cover claims resulting from losses incurred in the UK. Similar Tool Cover is available if you use hand or power tools in your line of work.
Contract Cover: If you undertake work off your own premises this can cover claims from the site owner or manager if your work has an adverse impact on the site as a whole.
Stock: Cover your stock, materials and finished goods whilst you remain responsible for them.
Plant: Can cover loss or damage to your plant and can be extended to cover plant you hire.
Every businesses' requirements are different and different insurers tend to concentrate in different markets - using our service means we can get the right insurers quoting for your business - saving you time, hassle and money.
Click the Get a Quote Button above and our partners will be searching quotes for you in minutes.


Prospect Heights police responded about 11:09 p.m. Tuesday to a report that a man working in the area was jumped by two men near the intersection of Apple and Burning Bush. Both men were described as male/Hispanic — one of the subjects was about 5'5″. Police received a report that the men left the area on foot, but left their vehicle — a black Ford Taurus — near the intersection.


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January 9, 2022 January 9, 2022 Television, Movies, & Radio
A short preview of Jimmy Buffett's appearance on the CBS series "Blue Bloods" is now available. Watch or DVR the episode that airs on CBS on Friday Jan. 14th at 10:00 PM ET.
Blue Bloods season 12 episode 11 synopsis:
"On The Arm" – Danny pursues Dickie Delaney (Jimmy Buffett), a con artist pretending to be the legendary singer Jimmy Buffett, after he's tricked into paying for the scammer's meal at an expensive restaurant. Also, Frank investigates NYPD Captain Terrell (Regina Taylor), who is using her badge to get free wares from local stores; Erin worries about her reputation when she's the subject of a salacious, anonymous police blog; and Jamie introduces a decades-old saluting rule in the precinct, on the CBS Original series BLUE BLOODS, Friday, Jan. 14 (10:00-11:00 PM, ET/PT) on the CBS Television Network, and available to stream live and on demand on Paramount+.
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Margaritaville Resort Times Square Named "Best New Hotel"


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NorthCountry Federal Credit Union (East Montpelier)
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Burlington Progs Say Weinberger Can't Be Trusted; Some Dems Shrug
Posted By Courtney Lamdin on Thu, Dec 17, 2020 at 9:07 PM
Progressive city councilors in Burlington took aim this week at Mayor Miro Weinberger after Seven Days revealed on Tuesday that he knew more than he had previously said about a Twitter scandal that led former police chief Brandon del Pozo to resign last December.
Councilor Jane Stromberg (P-Ward 8) called Weinberger's nondisclosure "blatantly despicable" and said the mayor had "so much time to appropriately address this, and he has not."
"Honestly, at this point, it's just unforgivable," she said.
On July 3 of last year, del Pozo showed Weinberger a Twitter account he had created that mocked a critic, Charles Winkleman. The next day, del Pozo used the anonymous account to fire off several tweets attacking Winkleman.
Related Weinberger Knew of Burlington Police Chief's Anonymous Twitter Account
Weinberger Knew of Burlington Police Chief's Anonymous Twitter Account
By Sasha Goldstein and Courtney Lamdin
Weinberger had previously said he found out about the tweets on July 28, 2019, when del Pozo admitted to what he had done. But the mayor had never revealed that his chief had shown him the account, before the first tweet was sent.
"It simply didn't occur to me ... to go back and talk about this bizarre, brief, prior interaction," Weinberger said Tuesday. "In retrospect … I wish I had made that part of my attempt to share the full record of what happened. It wasn't the focus of what I was trying to communicate."
The detail only came out in a Monday federal court filing that contained a partial deposition of del Pozo in an unrelated lawsuit. The former chief, a former police sergeant, a current member of the force, and the city itself are being sued for a violent 2018 arrest.
Max Tracy, the city council president and the Progressive Party's mayoral candidate, said the new information is "deeply troubling." He faulted Weinberger for trusting that del Pozo would not use the account, despite the former chief's known penchant for engaging critics online.
"We have a leadership culture that tolerates this kind of misconduct, and we need to change that culture," Tracy said.
Councilor Ali Dieng (I-Ward 7), a fellow mayoral hopeful, said the latest news shows that "the sitting mayor is participating in secrecy" and that Weinberger lied to the public by not disclosing that he'd seen the account.
"Anyone saying this is not a big deal is part of the problem," Dieng said.
Some of Weinberger's fellow Democrats disagree. Councilor Joan Shannon (South District), one of the mayor's staunchest allies on the council, said it's unfair to judge Weinberger's actions in hindsight.
The mayor's handling of the scandal wasn't "his best moment," Shannon said, "but at the same time, I know that he has integrity and there's kind of a bigger picture here. That's how I categorize this."
While Shannon said she's not surprised that the Progs are in attack mode, she doubts that Weinberger will lose supporters over this latest revelation. She, for one, is standing by him, and her daughter is working on the mayor's reelection campaign. "We really have serious issues to focus on in the city, and these kind of things become a real distraction," she said.
Councilor Sarah Carpenter (D-Ward 4) agreed.
"We need to move on," she said. "I think we need to really focus on police transformation, some of the really good things that we're starting to work on."
Weinberger's political opponents aren't ready to let it go. A Dieng administration would be transparent, the candidate said, and this latest situation with Weinberger "is just another affirmation that change is needed."
Tracy's camp issued a statement Wednesday that took the same tone. "The actions by the Mayor and their impact on our community is a reminder of why we need transparent, thoughtful, and principled leadership," it read.
Winkleman, the target of del Pozo's tweets, doesn't want to wait for March — he thinks Weinberger should resign immediately.
"How can you see your chief of police create this fake account, even as a joke, and not do anything?" he asked during an interview this week. "That's just crazy to me."
The latest twist in the Twitter scandal comes as the city considers new oversight for its police department. The council voted 7-5 on Monday to put an item on the ballot that, if approved, would create an independent community control board to investigate police misconduct and mete out discipline.
Weinberger opposed the Prog-led proposal, which requires changing the city's charter. He had proposed giving the mayor a bigger role in police discipline, among other actions.
Councilor Brian Pine (P-Ward 3) said learning that Weinberger knew about del Pozo's account perfectly illustrates why the city needs more independent police oversight.
"The chief on their own, or the mayor on their own, is not a good way to ensure accountability," Pine said. "It's an example of why we need [more] sets of eyes looking at these types of issues so we can be sure the public's interest is being safeguarded."
The lawsuit that led to del Pozo's damning deposition is forging ahead. The attorney for the plaintiffs — three young Black men, including one who was knocked unconscious by a city cop in the fall of 2018 — is seeking to depose Weinberger. He argues in court papers that the mayor's knowledge of del Pozo's account undermines the city's credibility.
The city responded to the filing on Thursday, writing in a motion that the social media scandal is "a sideshow" and that the plaintiffs "have yet to explain how
this account, created after the incident involving Plaintiffs, has any relevance to any of their underlying claims."
The judge has not yet ruled on the motion.
Tags: Mayor Miro Weinberger, Brandon del Pozo, chief, deposition, lawsuit, Twitter, social media, troll, police department, Web Only, Image
Voters in Burlington Will Consider a Major Overhaul to Police Oversight
Burlington Council Delays Debate on Charter Change Proposals
Burlington Deputy Chief Wright Resigns Following Firestorm Over Social Media
Judge Won't Sanction Burlington Over Anonymous Twitter Account
by Derek Brouwer
Burlington Police Chief Resigns After Twitter Trolling Scandal
On Tape: Burlington Police Chief Lied Repeatedly About Twitter Account in July Call
Burlington Police Chief Admits He Used an Anonymous Twitter Account to Taunt a Critic
Congolese Brothers Say a Run-In With Burlington Police Left a Lasting Impression
« UVM Faculty and Students Reel From… | Commuters Unhappy About Plans to Ag… »
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Music with Scholtes
Arts · February 11, 2014 10:52 pm ·
(Ryan Hueglin – Photography Manager)
The Maureen Foster Recital Hall resonated to the musical stylings of Marcus Scholtes, a string professor at Wilfrid Laurier University, on Thursday Feb. 6 at noon. The Music at Noon is an on-going series within the faculty of music that occurs twice a week — Tuesday's are the student performances while on Thursday the professors get the chance to showcase their skill.
"It is an excellent opportunity to showcase musicians and to perform," said Scholtes.
Coming from a musically talented family, Scholtes began to play violin and piano when he was five years old. Up until the end of high school he practiced both, and after graduation chose to do all his degrees on violin. However, in the meantime he continued to practice his skills on the piano. When explaining his decision not to double major in both violin and piano during his post-secondary studies, Scholtes elaborated, "There are some people who double-major, but it can be very busy and you can burn out if you're taking too many classes. I thought to just pick one and see where it took me."
Scholtes' violin and pianist expertise was demonstrated in his performance of The Unaccompanied Marcus-Part VI, which culminated in Scholtes performing a duet with a recorded version of himself. This was achieved through performing the piano part live to a projected video of himself playing the violin accompaniment.
"I was trying to think of a title for it, you know, solo piano and solo violin," said Scholtes on the inspiration for his performance. "Initial thoughts were Marcus Unplugged, but that was kind of more for rock 'n' roll so I was thinking what would the classical equivalent be … The Unaccompanied Marcus."
He explained that the most complicated part of the performance was to synchronize his live rendition with the taped accompaniment. Professor Scholtes' performance was received to thunderous applause, especially after his encore performance of dueting with himself.
While he has attained many degrees in Violin Performance from numerous accredited institutions, Scholtes seems to be just as talented on the piano. In addition to teaching here at Laurier, Marcus Scholtes is a member of the Kitchener-Waterloo Symphony and performs with them often. Of course, great talent comes with great dedication to practicing and improving skills.
"Every morning I practice two or three hours [for both instruments combined]. If it doesn't happen in the morning, I just get too busy during the day and it doesn't happen."
For any aspiring music students wondering how Scholtes has achieved such a high level of success in his field, he revealed that the key was, "practice, just practice, as well as making contacts in the field. I would also say being diverse; the more diverse you are, especially in today's market, the more you can do. The more skills you have, the more horizons it opens."
The Music At Noon series features a different artist playing in the Maureen Foster Recital hall every Thursday at noon, and admission is free for Laurier Students.
Author: Cristina Almudevar


For the fourth time this season, and the second time in just six days, the Vancouver Canucks take on the Edmonton Oilers. The Canucks won all three previous games (6-2, 4-0 and most recently, 2-1).
After Sunday's 5-4 overtime win for the Canucks, they're looking to keep the momentum going and start a new winning steak. However, the Oilers are looking to start a new winning streak of their own. On Sunday, the Oilers ended a six-game winless streak as they beat the Nashville Predators 5-1.
As we all know, the Vancouver Canucks have experienced trouble scoring goals lately, but they sure didn't have any problem on Sunday.
Kevin Bieksa scored twice, including the game winner in overtime, to lift the Canucks to a 5-4 victory over the Coyotes.
Chris Higgins helped lift the Canucks to a 5-4 victory with one goal and two assist. He now has two goals and two assist in the past two games.
For the Oilers, Jordan Eberle extended his point streak to five games on Sunday (four goals, two assist).
Henrik Sedin (ribs) is still day-to-day. Forward Mike Santorelli (shoulder) and defenseman Andrew Alberts (concussion) are on injured reserve. Jordan Schroeder, who has missed most of the season with an ankle injury, will not play tonight, but did start his conditioning assignment with the Utica Comets.
The Oilers are likely without defensemen Philip Larsen (illness) Andrew Ference (upper body), along with forward Ales Hemsky (ankle).


text:
Wang Mengqiu
Cloud Computing News March 9, 2012
Chinese Search Engine Heads To Singapore For New Languages Lab
Chinese Internet search engine company Baidu Inc. has inked a deal with the Institute for Infocomm Research of the Agency for Science, Technology and Research in Singapore for the two parties to establish a joint…


Payday Loans in Lemont (Cook County) IL - How to Get a Payday Loan in Lemont?
By the way, if you have a bad credit history, but need a payday loan in Lemont? Do not be nervous, we can approve borrowers with bad credit history.


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Home > Reports > State of the Nation 2017: Refugees and people seeking asylum in Australia
State of the Nation 2017: Refugees and people seeking asylum in Australia
Read the report in PDF
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Seeking safety
Locking them up
Slow tracking
Living on the margins
Harming not healing the mind
Living in limbo
Regional settlement
Forcing families apart
Peope with a disability
Becoming part of Australia
Learning English is important to most people so they can make a new home in Australia. For those who are resettled in Australia from overseas, the Adult Migrant English Program (AMEP) helps refugees learn English and settle in Australia.
Since the introduction of the Government's jobactive program, there have been continuing complaints that jobactive providers are interfering with the ability of people to learn English. Teachers of English reported that several the employment service providers were trying to force people into employment too early, compelling them go to job-related appointments instead of English language classes.
The AMEP program was reviewed in 2015 with changes announced in 2016. Many of these changes are welcome, particularly the introduction of a capped program of up to 490 hours of additional tuition for people whose English was still not functional after an initial 510 hours, as well as increased flexibility in delivery of the program. These changes reflected many of the conversations we have had with people from refugee communities, who pointed out that the program should be more flexible, especially for the elderly and those who have not had formal education.
People do have [510] hours of English and still come out not able to understand or able to read. I think one of the biggest challenges is literacy in their first language. I think they are at double or quadruple the disadvantage. I am not sure if there are programs that help that particular niche of people.
– Service provider, Victoria
A longstanding refrain is that childcare is needed to help women with children attend classes to learn English:
We are working with the women in settlement 5 years on. Some of them have never actually managed to get to AMEP and there [is no childcare]. So it is wasted. We are duplicating a service at the moment doing a program called building blocks, which is from a grant from the council of $2,500. Because the women can bring their kids and it is in an informal setting… We are really at basics. 5 years in Australia? What's happened? There is a serious hole there.
People who had recently arrived noted a variety of issues in being able to start learning English. There were numerous instances where people had to wait six months before they could start classes; and classes in some regional areas were not as effective as there were smaller, combined classes and students had very different skill levels. As well, people talked the cost of English languages tests for those wanting to do education after secondary school; and the need to support higher levels of English for people to attempt to go to university.
People seeking asylum, however, did not even have access to AMEP, although a welcome change has been the guarantee of AMEP for those on temporary protection visas. For these people, the inability to learn English has severely affected their ability to get work and to settle:
[M]y English is not good, it's just a little bit and only reasonable as it is not my first language. Actually I have no opportunities to improve my English here, just friends and neighbours help me to learn a little bit more. I cannot pay for any education. I'm on my bridging visa, this time I think just three months left and since three and a half years ago I came to Australia. I am on a bridging visa sometimes six months and sometimes one year. I also had 10 months without any visa and I have had very bad problems during that time.
– Iranian community member
Continue: Getting a job
Asylum Destitution Detention Offshore processing RSD (refugee status determination) Settlement Temporary protection
Until when: The forgotten men of Manus Island
This joint report, in partnership with Amnesty International, tells the story of the men who have been sent by Australia to Manus Island, Papua New Guinea (PNG), and what has happened to them after they were forcibly...
After the boats have stopped: Refugees stranded in Indonesia and Australia's containment policies
This brief provides an overview of Australia's role in stopping refugees leaving Indonesia en route to Australia, and highlights the precarious situation refugees now face in Indonesia.
An unnecessary penalty: Economic impacts of changes to the Status Resolution Support Services
This paper finds that the changes to Status Resolution Support Services (SRSS) will force people into situations of material poverty rather than assisting them to find employment. Removing income and case management...
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Momentum builds as UNHCR plans first global refugee forum
A new model for community refugee sponsorship in Australia
The Federal Budget: What it means for refugees and people seeking humanitarian protection
Barriers and exclusions: The support needs of newly arrived refugees with a disability


Former Rams coach Mike Martz said it is "out-and-out ridiculous" that Terrell Owens is a Hall of Fame finalist over a pair of former Rams wide receivers.
Martz told the St. Louis Post-Dispatch that he doesn't understand why Isaac Bruce and Torry Holt haven't been given more consideration for enshrinement in Canton, Ohio, while Owens is a finalist in his first year of eligibility.
"'Surprised' isn't the word," Martz told the newspaper. "You can't print how I felt when T.O. leapfrogged those two. That's just plain out-and-out ridiculous."
Owens responded to Martz's comments Monday on Boston Herald Radio.
"I really don't know what his basis is for saying that, other than the simple fact that he coached those two guys so he's going to be biased. I played against those guys, those guys are tremendous receivers," Owens said. "But for me, it's really what you're basing your opinions on. I've never been in any off-the-field problems, I don't think those guys have either.
"But if you want to talk about character or anything like that, that's when you can kind of weight in. OK, well, what did I do that really has a flaw in my character other than really be open and honest and really just speak my mind?"
Owens is one of two wide receivers on the final ballot for the Hall of Fame, along with former Indianapolis Colts star Marvin Harrison. Martz also took some issue with Harrison's being ranked over the former Rams.
"If they big-timed it and did all that dumb stuff, they'd get in probably earlier," Martz told the Post-Dispatch. "I think they'll eventually get in. I don't think that's an issue, but it's tragic that people think of them like that. If Marvin Harrison gets in, how could they not get in?"
In 223 career games, Bruce posted 1,024 receptions (eighth all time) for 15,208 yards (fourth) and 91 touchdowns (11th) on his way to four Pro Bowl appearances.
Holt was a seven-time Pro Bowl selection and was named first-team All-Pro in 2003 and second-team in 2006. He finished his career with 920 catches for 13,382 yards and 74 touchdowns. Holt holds NFL records for most consecutive seasons with 90 catches and 1,300 receiving yards, marks he hit six straight times in the early 2000s.
"You kind of start with that," Martz said. "Look at their production. More importantly, look at their yards per catch, and then look at it consistently over a long period of time. It'll compare to anybody. In some cases, nobody comes close. I mean, nobody's even come close to what Torry did."
Owens ranks second in receiving yards, with 15,934, and third in touchdown receptions, with 153. While playing for the 49ers in 2000, he set a record (at the time) for catches in a game, with 20 against the Chicago Bears. Harrison had 1,102 receptions for 14,580 yards and 128 touchdowns, and he made the All-Decade Team of the 2000s.
The Class of 2016 will be decided Saturday, the day before the Super Bowl, with inductions scheduled for August. To be elected, a finalist must receive 80 percent of the votes cast by the selection panel. A maximum of eight inductees are allowed each year.
Owens, who feels he didn't get to end his NFL career on his terms, said he has told his agent to let teams know he is still available to play.
"I know I'm 42. I don't know why that scares a lot of people, but I'm not your normal 42-year-old," Owens said.
He said he "would probably close the door" on his aspirations to keep playing if he was inducted to the Hall of Fame.
Information from ESPN staff writer Nick Wagoner and The Associated Press contributed to this report.


text:
namespace gl {

namespace {
base::LazyInstance<base::ThreadLocalPointer<GLContext> >::Leaky
    current_context_ = LAZY_INSTANCE_INITIALIZER;

base::LazyInstance<base::ThreadLocalPointer<GLContext> >::Leaky
    current_real_context_ = LAZY_INSTANCE_INITIALIZER;
}  // namespace

GLContext::ScopedReleaseCurrent::ScopedReleaseCurrent() : canceled_(false) {}

GLContext::ScopedReleaseCurrent::~ScopedReleaseCurrent() {
  if (!canceled_ && GetCurrent()) {
    GetCurrent()->ReleaseCurrent(nullptr);
  }
}

void GLContext::ScopedReleaseCurrent::Cancel() {
  canceled_ = true;
}

GLContext::GLContext(GLShareGroup* share_group)
    : share_group_(share_group),
      current_virtual_context_(nullptr),
      state_dirtied_externally_(false),
      swap_interval_(1),
      force_swap_interval_zero_(false) {
  if (!share_group_.get())
    share_group_ = new GLShareGroup;

  share_group_->AddContext(this);
}

GLContext::~GLContext() {
  share_group_->RemoveContext(this);
  if (GetCurrent() == this) {
    SetCurrent(nullptr);
  }
}

void GLContext::SetSafeToForceGpuSwitch() {
}

bool GLContext::ForceGpuSwitchIfNeeded() {
  return true;
}

void GLContext::SetUnbindFboOnMakeCurrent() {
  NOTIMPLEMENTED();
}

std::string GLContext::GetExtensions() {
  DCHECK(IsCurrent(nullptr));
  return GetGLExtensionsFromCurrentContext();
}

std::string GLContext::GetGLVersion() {
  DCHECK(IsCurrent(nullptr));
  const char *version =
      reinterpret_cast<const char*>(glGetString(GL_VERSION));
  return std::string(version ? version : "");
}

std::string GLContext::GetGLRenderer() {
  DCHECK(IsCurrent(nullptr));
  const char *renderer =
      reinterpret_cast<const char*>(glGetString(GL_RENDERER));
  return std::string(renderer ? renderer : "");
}

YUVToRGBConverter* GLContext::GetYUVToRGBConverter() {
  return nullptr;
}

bool GLContext::HasExtension(const char* name) {
  std::string extensions = GetExtensions();
  extensions += " ";

  std::string delimited_name(name);
  delimited_name += " ";

  return extensions.find(delimited_name) != std::string::npos;
}

const GLVersionInfo* GLContext::GetVersionInfo() {
  if (!version_info_) {
    std::string version = GetGLVersion();
    std::string renderer = GetGLRenderer();
    version_info_ = base::WrapUnique(new GLVersionInfo(
        version.c_str(), renderer.c_str(), GetExtensions().c_str()));
  }
  return version_info_.get();
}

GLShareGroup* GLContext::share_group() {
  return share_group_.get();
}

bool GLContext::LosesAllContextsOnContextLost() {
  switch (GetGLImplementation()) {
    case kGLImplementationDesktopGL:
      return false;
    case kGLImplementationEGLGLES2:
      return true;
    case kGLImplementationOSMesaGL:
    case kGLImplementationAppleGL:
      return false;
    case kGLImplementationMockGL:
      return false;
    default:
      NOTREACHED();
      return true;
  }
}

GLContext* GLContext::GetCurrent() {
  return current_context_.Pointer()->Get();
}

GLContext* GLContext::GetRealCurrent() {
  return current_real_context_.Pointer()->Get();
}

void GLContext::SetCurrent(GLSurface* surface) {
  current_context_.Pointer()->Set(surface ? this : nullptr);
  GLSurface::SetCurrent(surface);
  // Leave the real GL api current so that unit tests work correctly.
  // TODO(sievers): Remove this, but needs all gpu_unittest classes
  // to create and make current a context.
  if (!surface && GetGLImplementation() != kGLImplementationMockGL) {
    SetGLApiToNoContext();
  }
}

GLStateRestorer* GLContext::GetGLStateRestorer() {
  return state_restorer_.get();
}

void GLContext::SetGLStateRestorer(GLStateRestorer* state_restorer) {
  state_restorer_ = base::WrapUnique(state_restorer);
}

void GLContext::SetSwapInterval(int interval) {
  swap_interval_ = interval;
  OnSetSwapInterval(force_swap_interval_zero_ ? 0 : swap_interval_);
}

void GLContext::ForceSwapIntervalZero(bool force) {
  force_swap_interval_zero_ = force;
  OnSetSwapInterval(force_swap_interval_zero_ ? 0 : swap_interval_);
}

bool GLContext::WasAllocatedUsingRobustnessExtension() {
  return false;
}

void GLContext::InitializeDynamicBindings() {
  DCHECK(IsCurrent(nullptr));
  InitializeDynamicGLBindingsGL(this);
}

bool GLContext::MakeVirtuallyCurrent(
    GLContext* virtual_context, GLSurface* surface) {
  if (!ForceGpuSwitchIfNeeded())
    return false;
  bool switched_real_contexts = GLContext::GetRealCurrent() != this;
  GLSurface* current_surface = GLSurface::GetCurrent();
  if (switched_real_contexts || surface != current_surface) {
    // MakeCurrent 'lite' path that avoids potentially expensive MakeCurrent()
    // calls if the GLSurface uses the same underlying surface or renders to
    // an FBO.
    if (switched_real_contexts || !current_surface ||
        !virtual_context->IsCurrent(surface)) {
      if (!MakeCurrent(surface)) {
        return false;
      }
    }
  }

  DCHECK_EQ(this, GLContext::GetRealCurrent());
  DCHECK(IsCurrent(NULL));
  DCHECK(virtual_context->IsCurrent(surface));

  if (switched_real_contexts || virtual_context != current_virtual_context_) {
#if DCHECK_IS_ON()
    GLenum error = glGetError();
    // Accepting a context loss error here enables using debug mode to work on
    // context loss handling in virtual context mode.
    // There should be no other errors from the previous context leaking into
    // the new context.
    DCHECK(error == GL_NO_ERROR || error == GL_CONTEXT_LOST_KHR) <<
        "GL error was: " << error;
#endif

    // Set all state that is different from the real state
    if (virtual_context->GetGLStateRestorer()->IsInitialized()) {
      GLStateRestorer* virtual_state = virtual_context->GetGLStateRestorer();
      GLStateRestorer* current_state =
          current_virtual_context_
              ? current_virtual_context_->GetGLStateRestorer()
              : nullptr;
      if (current_state)
        current_state->PauseQueries();
      virtual_state->ResumeQueries();

      virtual_state->RestoreState(
          (current_state && !switched_real_contexts) ? current_state : NULL);
    }
    current_virtual_context_ = virtual_context;
  }

  virtual_context->SetCurrent(surface);
  if (!surface->OnMakeCurrent(virtual_context)) {
    LOG(ERROR) << "Could not make GLSurface current.";
    return false;
  }
  return true;
}

void GLContext::OnReleaseVirtuallyCurrent(GLContext* virtual_context) {
  if (current_virtual_context_ == virtual_context)
    current_virtual_context_ = nullptr;
}

void GLContext::SetRealGLApi() {
  SetGLToRealGLApi();
}

GLContextReal::GLContextReal(GLShareGroup* share_group)
    : GLContext(share_group) {}

scoped_refptr<GPUTimingClient> GLContextReal::CreateGPUTimingClient() {
  if (!gpu_timing_) {
    gpu_timing_.reset(GPUTiming::CreateGPUTiming(this));
  }
  return gpu_timing_->CreateGPUTimingClient();
}

GLContextReal::~GLContextReal() {
  if (GetRealCurrent() == this)
    current_real_context_.Pointer()->Set(nullptr);
}

void GLContextReal::SetCurrent(GLSurface* surface) {
  GLContext::SetCurrent(surface);
  current_real_context_.Pointer()->Set(surface ? this : nullptr);
}

scoped_refptr<GLContext> InitializeGLContext(scoped_refptr<GLContext> context,
                                             GLSurface* compatible_surface,
                                             GpuPreference gpu_preference) {
  if (!context->Initialize(compatible_surface, gpu_preference))
    return nullptr;
  return context;
}

}  // namespace gl