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Tuesday 23rd May 2017
Roaming singing performances hit all the right notes
More than 150 people stepped into song on George Street in St Helens over the weekend to watch a promenade performance by a group of untrained male singers from St Helens.
Composer Verity Standen created the new roaming, choral experience specifically for St Helens, due to the historic significance the town has with conscientious objection.
St Helens was the home of school teacher, Ernest Everett who was arrested due to his refusal to undertake combative service in 1916.
He was court-martialed and sentenced to two years' hard labour, the first conscientious objector to receive such a sentence. Over the next few years, he was sentenced seven more times.
In Refrain, Everett's story, symbolic of many more cases of this kind, was given voice once again by local men.
The participants, who were recruited through taster sessions, led audiences on four shows over the weekend (May 20th & 21st) from The Masonic Hall along George Street to The Friends Meeting House.
Olly Ford, a participant from St Helens, said: "It was quite surreal but very cool. Sometimes you'd be walking through town on the day to day and you'd see the streets. Then to actually be involved in a performance amongst these streets is really nice."
Suzanne Dempsey Sawin, of Heart of Glass, said: "It was a pleasure to see the hard work and talent of the participants and Verity come to fruition over the weekend.
"I found the performances were very moving and the audience feedback has reflected this. The George Street Quarter came alive in a truly unique way, and it was great to work with two historic St Helens sites."
Verity Standen is an award-winning artist, composer and choir leader, whose unique work with voices has surprised and enchanted audiences around the UK and internationally. From intimate concerts to immersive theatrical experiences, Verity's work seeks to reimagine how audiences experience vocal music. Refrain is her most ambitious project to date.
Refrain is produced by Situations with Verity Standen Projects, in partnership with English Heritage, Attenborough Centre for the Creative Arts and Heart of Glass, St. Helens. It is generously supported by Arts Council England, the Jerwood Charitable Foundation, Joseph Rowntree Charitable Trust, The Space and Heritage Lottery Fund.
Photos by Wesley Storey courtesy of Situations.


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Home Features HBO Game of Thrones Review: Episode 10 and Season Finale – Fire...
HBO Game of Thrones Review: Episode 10 and Season Finale – Fire and Blood
John Cashman
Where do I start? It still seems surreal to me that a series that I enjoyed so much on the page, but that I thought was too geeky and esoteric to really gain much of a mainstream following, has been converted into a critically acclaimed HBO TV series. I still have to almost pinch myself as the first notes of the opening theme rang out each week, to remind myself that this season wasn't some kind of weird dream. It's been such a great ride. I have some overall thoughts on the season as a whole, but I want to wait a few days and think on everything I've seen before I put them into the digital ether. In the meantime, I'll talk about "Fire and Blood", the season finale, specifically.
The season finale didn't wrap up much; not a lot of action happened, and much of the episode served as a set-up for the upcoming season. Game of Thrones made this set-up work, though, by grounding it in the understanding and motivations of characters we've watched grow through nine hours of television, rather than tossing a poorly planned, undeveloped, rage-inducing fake-out into our faces. I'm looking at you, The Killing; but in this review, I'm going to stick to Game of Thrones and let someone else justifiably tear into that unsatisfying conclusion.
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Anyway, much of the episode focused on the fall-out of Ned's death, and how the people who loved him tried to cope with his loss. Robb, despite his new claim as King in the North, hacks away at a tree in helpless adolescent rage before collapsing into his mother's arms and crying. Catelyn, who has only a moment to break down on her own, must remain strong for her new son/King, fortifying him with a harsh promise to kill all those responsible for Ned's death. Sansa's illusions about chivalry have become permanently shattered, but we see her hard, inner-core shine through when she talks back to Joffrey and thinks about pushing him off the castle walls. Poor Arya didn't even have time to grieve; instead, she gets a quick haircut and is packed on off to the wall with the rapists and dregs of the King's Landing dungeons. Perhaps her grief is transformed into anger, which we see displayed rather frighteningly after she threatens to kill the fat bully. "I've already killed a fat boy. I like killing fat boys," she says with such fury and rage that it makes me wonder how much spilled blood she'll be responsible for her future.
Jon tries to flee the Night's Watch to avenge his father's death, but instead is convinced to return by his new brothers in black, because the Night's Watch is going to ride out past the wall and find out what they can about the blue-eyed zombies. Like everyone in this episode, Jon has transformed; he was once a Stark, but now is a member of the Night's Watch, and the Watch's battles that now must come first. The commander's speech about traveling beyond the Wall, overlaid with the scenes of the long-dormant Watch finally mobilizing and riding out in force to face its enemies head-on was thrilling and actually gave me chills.
We only saw a little bit of the Lannister boys here, but both underwent a transformation of sorts. Tyrion, so long considered the black sheep of the family, finally gets some respect from his father, who commands him to head to King's Landing and exercise some control over Cersei and her sociopathic son. It's going to be fun to watch him match wits with the other schemers in the capital; I think he'll be more suited for this job than Ned ever was. Jaime, though he only shared one short scene with Catelyn, was fascinating in this episode. His brash exterior seemed to drop away, only for a moment, to show a kind of bone-deep, world weary nihilism. Jaime saw something shocking about human nature while serving the Mad King years ago, and he's been hiding it since then behind his brash and sarcastic exterior. There's more to him, though, than just that mask.
And finally, Daenerys Stormborn, mother of dragons. After waking to find out that her son died stillborn, and her husband a living vegetable, she resolves never to be scared, frightened, or taken advantage of again. She builds a funeral pyre for Drogo, places her precious dragon eggs within, and ties the witch who killed her baby with her magic to the pyre. As it burns, she strides into the flames, and the next morning she rises from the ashes like some kind of primeval goddess, cradling the only dragons alive in the world. Though she's now clearly a force to be reckoned with, I can't help but wonder about her mental state. The mercy she showed the witch came back to bite her, as it was the witch who (probably) ensured that Drogo's wound festered, and whose magic (probably) destroyed the life of her unborn son. Is there any room left in Dany's heart for mercy, or will she become the new Mad King?
It's going to be a long wait until next April.
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Does Sata know that respect is earned not demanded?
It is nearly a year and seven months from the time President Michael Sata ascended to the stratums of power and he seems to be the most defamed president than any of his predecessors.
As a result, some people have been arrested including Patrick Mubanga, Peter Mweete, and recently Sisiku Akapelwa. Sydney Chisanga, Hakainde Hichilema and Nevers Mumba respectively had their own ordeals for allegedly defaming Sata.
It makes one wonder why Sata is aggressively demanding respect from the public to an extent of arresting those who do not respect him. These kinds of arrests are only common in Zimbabwe. Is Sata patterning himself after the Zimbabwean leader?
The fact is, if Sata is badly in need of respect, the public will give him the respect he wants. However, it will be out of powerlessness and fear not from their hearts.
He seems not to know that the more you demand respect, the less you will get. Conventional wisdom holds that the respect we give others makes them to give us theirs as well. This simply means that respect is earned as well as demanded, and not demanded in the sense of sending people to Chimbokaila or jail but demanded in the sense that we act with respect for ourselves and thus demand it from others.
Just because Sata is president does not entitle him the right to be respected no matter what he does. He needs to show respect for himself in order to receive it from the public. He must earn the respect he expects to receive from the public.
To earn respect, Sata must show the public that he is a good person worthy of trust and integrity. If he is not living a life worthy of trust and integrity he should not waste time thinking people will just give him 100% respect because he is president no matter how 'indigestible' his behaviour is.
One can be a president however if he/she clearly does not show respect for him/herself then how can the public give it to him/her even more, expect it from them?
When wise leaders find out that the public is 'defaming' them using all sorts of words such as 'stupid' or 'silly', they create time for introspection; to earnestly examine their lives.
Sata should go back to a 'safe place' Sakeni said he had gone to in February this time to reflect on why he is disrespected by the public as compared to his predecessors.
Though they are not insults, people call their leaders 'stupid' defined as unintelligent decisions or actions: acting in an unintelligent or careless manner, unreasoned thinking or acting. Others call them 'silly' defined as unwise, showing poor judgment or little intelligence'. This is so because leaders are respected by the public based on the way they carry themselves.
Thus, the first question Sata needs to reflect on is whether he is living a life worthy of trust and integrity from others. This may explain why he is defamed.
Let Sata reflect on his decisions and actions to see if he feels he has shown respect for himself by for example forming a cabinet where more than ninety per cent of the ministers are from his region or forming a bloated government with more than seventy five members or causing unnecessary costly by-elections when the agriculture, health, education and other sectors are in a mess. Or donating fuel to Malawi or over-exporting maize causing a shortage of the same commodities. Or joking carelessly or undiplomatically at important occasions or making deceitful campaign promises that he has not only failed to fulfil but has turned against. Are these actions not showing poor judgment or careless/unintelligent actions the Oxford Dictionary calls as 'silly' or 'stupid'?
If leaders' actions continuously show poor judgment or unintelligent actions how can they demand that they receive respect from people who understand their true sordid characters?
Our poor judgment and unintelligent actions or our 'stupid' or 'silly' past and present determine how people treat us. Once people have lost their respect for us because of our poor judgments or unintelligent actions, it is very difficult to get it back.
So, Sata and other leaders the likes of Sylvia Masebo, Kennedy Sakeni, Wynter Kabimba and Fred M'membe should ask themselves what they have done or are doing in their lives that have caused people to lose respect for them. What are you doing today that you have become the target of people's insults? Search the locuses of your consciences!
Sata can arrest people for defaming him but that will not make people genuinely respect him if they believe that he does not deserve to be respected. Commanding respect from people by arresting them shows severe lack of understanding of what one is demanding from people.
If my Latin serves me right, the root word for respect is a Latin word respectus, from past participle of respicere which means 'to look back at', 'to gaze' or 'admire'. In this context, respect is a polite behaviour driven by an inner self of regard for somebody. It is a feeling of 'admiration' for somebody because of their good capabilities or accomplishments that can be demonstrated in words and bodily.
This simply means that we respect people from the core of our hearts because they deserve it, command it and enjoy it as expected.
Sata can jail people with hard labour for defaming him, however if they do not feel it within their hearts, they will serve their sentences but still not admire or respect him. Respect or admiration cannot be forced on people or bought from Chimbokaila.
If Sata's life, past and present, is characterized with poor judgment or unintelligent actions, it will be difficult for people to respect him. This is because respect is a quality that a person owns as a reward for one's virtuous conduct and character. It is wealth one proudly owns and delights in, mutely commands and correctly receives. As one eminent proverb holds, 'Love begets love, respect begets respect'. Thus, the respect people pay to others, entitles them to get respect in return.
Thus, insults Sata is receiving say a lot about his life. Let him have time for introspection. He may be insulted because he has failed to practice good leadership after coming to power something that may have aptly begotten another failed action of respect.
So, it is mind boggling how a leader can demand for respect, a gift that vaults from the depths of people's hearts by arresting them. What if they think he does not deserve it?
Sata is president, no doubt about it. But he seems to have failed to make himself respectable in the eyes of the people he is leading. Respecting others does not cost anything at all except some love for all people regardless of their tribe, but it pays much in terms of invaluable reward of respect.
It is not how wealthy like Hakainde, powerful like Sata and influential like M'membe that one is to be treated with respect, but having a sense of self-respect and holding human and moral values high. This maybe an area Sata is lacking because it is in possessing good moral character that makes a person worthy of respect.
If Sata wants to be respected, let him start to be known for the campaign promises he made and values he espoused before ascending to power. There is no doubt, he will command respect and enjoy a sense of true respect without arresting people.
Roger Ebert once said that people who behave themselves deserve respect of people who feel great about their honourable qualities that invoke admiration and respect in their hearts. If Sata and the likes of Sakeni, Kabimba, Masebo and M'membe want people to respect them, they should be respectable by respecting others and the work they do.
People who have no respect for others should not force others to respect them because it is 'silly' to coerce people to admire or respect them when they are not 'admirable' or 'respectable' to them.
There is totally nothing wrong to call some leaders 'stupid' or 'silly' for their poor judgment or unintelligent decisions and actions because that is what they are.
However, the way to handle disagreements with leaders is with reasoned arguments and self-controlled speech. Our modes of discussion should show the purity of our intentions, the strengths of our intellect and the decency of our characters. If we happen to insult, let it be an unintentional slip-up.


The duo known as DVBBS has been creating festival bangers for years that can be heard at almost any EDM festival to this day. DVBBS also recently hosted their very own event in Toronto called 'Mount Woozy' with support from Carnage, Laidback Luke, GTA, Timmy Trumpet, and more. They have also put out several new tracks in the past months such as 'Raveheart', 'White Clouds', and even a tropical track 'Always'.
But one thing the duo has yet to accomplish is releasing an album… but that will soon change. A tweet was sent out on the DVBBS twitter account that read "DVBBS ALBUM 2016" with a lot of fire emojis following. No further information such as a release date or tracklist have been announced so for now we will have to wait and see. One track that could be in the album is a track titled 'Never Leave' which DVBBS used to close their set at Tomorrowland and was also played in Tritonal's 'Tritonia Radio 102' as well as 'Hardwell On Air 223'.


Don't wait on love; wait on God. Much heartache has been caused by rushing into love or forcing a relationship that's outside the parameters of God's best for you.
Much heartache has been caused by rushing into love or forcing a relationship that is outside the parameters of God's best for you.
When it comes to love, I want you to wait well. But I also want you to know that waiting well doesn't work like a magic formula. You can guard your purity. You can trust God with your love life. You can write lists and save pennies and work on being the right person for love, but none of that guarantees that you will end up happily married to the man of your dreams until death do you part.
I want to temper all that good advice about love with the reality that God is in charge and He has not promised our version of a fairy tale ending, no matter how well we wait.
It's a reminder that Lies Young Women Believe author Nancy Leigh DeMoss gives in the book Lies Women Believe. She addresses unfulfilled longings—those desires we have that go unmet. Nancy teaches two key lessons about unfulfilled longings that seem worth repeating.
Lesson #1: We will always have unfulfilled longings this side of heaven.
"If we could have all our longings fulfilled down here, we would easily be satisfied with staying here, and our hearts would never long for a better place," Nancy writes.
I have learned in whatever situation I am to be content. I know how to be brought low, and I know how to abound. In any and every circumstance, I have learned the secret of facing plenty and hunger, abundance and need. I can do all things through [Christ] who strengthens me (Phil. 4:11–13).
Paul knew what it was like to go without, but he also knew a secret: contentment doesn't come from having everything we want; it comes from looking to Christ for strength.
God may or may not grant your desire to be married just like He may not grant many other desires, even the things you really, really want. As you look at your life, do you take Paul's approach? Have you learned to be content, even when things don't go the way that you want them to? Single or married, in love or out, can you say that you are satisfied because your strength, joy, peace, etc. comes from God? That's the sweet spot, and choosing to be content—even when things don't go like you want them to—is even more important than simply waiting well.
Lesson #2: The deepest longings of our hearts cannot be filled by any created person or thing.
"This is one of the most liberating truths I have discovered in my own pilgrimage," Nancy writes. "For years, I looked to people and circumstances to make me happy. Time after time, when they failed to come through, I would find myself disgruntled and disappointed."
Do you feel like having a guy will make you happy? Would being married ease the disappointment you feel about your life? Maybe. For a while, but the truth is no person, no matter how great, can meet your deepest longings. That's God's job.
your longing to be loved.
your desire to be known.
your fears about the future.
I think it's great to desire marriage. God designed it after all! I want you to wait for God's timing for romance and to keep your eyes on Him while you wait. But I don't want you to think of love like a race, where you will someday cross the finish line. Instead, know that married or unmarried unfulfilled longings are part of our citizenship on the planet. There will be things we want that we do not get and the deepest holes in our hearts can only be filled by God.
If you're waiting for love, let me encourage you to do more than wait well. Instead, be satisfied. Let God be enough for you today, and trust Him with the desires of your heart that have not been met yet.


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CROWN HEIGHTS, Brooklyn (WABC) -- New York City Mayor Bill de Blasio said Thursday night that the controversial opening of a new shelter in Brooklyn, will lead to the closing of three sites by the end of the year.
The new shelter would be on Bergen Street in Crown Heights and will be for homeless, people over 62-years-old.
The neighborhood however has been pushing back against the plan, saying there are already plenty of shelters in the neighborhood.
"If you don't believe a new proposal, I don't blame you for any noble skepticism," Mayor de Blasio said. "But I do ask you to keep an open mind and watch as we do this because I ultimately think it will be a better way for our city."
There are currently 19 homeless shelters in this city council district.


Understand what help is out there for you.
Find the right events and classes.
Get a visual on the different organizations in the Triad.
* Some of the events and programs you find on the calendar may not be free, but you can decide if/when you want to spend your money.
Don't have an idea, or are you just curious about entrepreneurship.
Have been an entrepreneur all your life.


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Paulk
DANIEL PAULK and his friend Lucius Robinson lived in Camden's Centerville neighborhood in the 1930s. The two seemed to have made a habit of stealing coal and other merchandise from the rail cars that were often sitting on tracks that bordered the neighborhood. The two were arrested while together by railroad police in February of 1933, and again while in each others company by Detective Gus Fortune of the Camden Police in October of 1936.
Camden Courier-Post - February 2, 1933
COAL-THROWING THIEVES GET 3 MONTHS IN JAIL
Accused of throwing coal at a railroad detective who says he caught them taking two bags of coal from a coal car at Tenth and Bulson streets, two youths were sent to jail for three months yesterday by Police Judge Garfield Pancoast.
They are Lucius Robinson, 18, of 903 Ferry avenue, and Daniel Paulk, 17, of 1708 South Tenth street. Their accuser was Eugene Pavon, of the Reading Railroad. They said they were merely walking across the tracks. The police said both have been arrested before on coal stealing charges.
Samuel Gillard, 18, colored, of 310 Summit street, went to jail for 30 days in default of a $25 fine on a charge of stealing a bag of coal from the American Ice Company, Twelfth and Federal streets. John Rusch, 1319 Princess avenue, manager of the plant, said he captured Gillard.
Camden Courier-Post - October 7, 1936
Lewis Liberman - Gus Fortune - Daniel Paulk - Lucius Robinson
Joseph Tully - George Smith - Salem Street - Ferry Avenue
Lewis Liberman - Gus Fortune
Daniel Paulk - Lucius Robinson
Salem Street - Ferry Avenue
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Make it simple this summer with this fresh Cucumber Salad with Pickled Onions. Now, I know what you are thinking. Pickled onions? I promise that the preparation takes literally minutes and the taste is totally worth it!
The pickling brine is all of five (count 'em five) ingredients. You read that correctly. Rice vinegar is whisked together with grainy Dijon mustard, sugar, salt and pepper. Toss with thinly sliced red onions and wait at least 15 minutes. They turn this bright pinky/red. For a milder flavor, you can rinse the onions under cold water before adding the brine. Alternately, the onions can be prepared a day in advance and refrigerated overnight. Just be sure to put them in a covered (preferably glass) container so they don't 'flavor' the rest of the items in your refrigerator.
All that's left is to thinly slice the cucumbers, shred a few carrots and chop some fresh dill and this becomes the easiest, most delicious Cucumber Salad you will ever make!
Need a few more ideas for summer sides? Don't worry, we've got you covered!
How about this Easy Vegan Coleslaw. Or how about these Brown Sugar Barbecue Baked Beans?
Combine the vinegar, mustard, sugar, salt and pepper, whisking until combined.
Add the sliced onions and let sit for at least 15 minutes (or overnight). You will know they are ready when they turn a bright red.
Add cucumber slices and grated carrot. Toss to coat.
The mustard mentioned is not listed with the ingredients.
Sorry, Debby it's fixed now. The measurement is 2 Tbl.
How much mustard do you suggest? Thanks!
Hi Eva-Marie, sorry for the omission. It's 2 Tbl of the mustard.


Absolutely gorgeous lot with west facing rear yard, filled with sunlight in First Shaughnessy District. Nestled in on a gorgeous section of Osler between Laurier & Balfour. Most exquisite boulevard street that Vancouver has to offer. This enchanting lot is filled wonderful flowers & shrubbery everywhere you turn. Original family, 4 level split. Great family home. Perfect size. Still worth keeping with a little rejuvenation. A wonderful property to bring up a family.


A S Industries is one of the leading manufacturing unit for manufacturing Precision Engineering Components for varied applications. we have more than 35 years experience in manufacturing various kinds of Precision Engineering Components. Our Expertise in manufacturing various Precsion Fabrication enable us a leading supplier The emphasis is always on high quality precision engineering components. We are manufacturing precision components for our clients across the globe. We have been in the field of Manufacturing Precision Engineering Components for varied application like Textile Machinery, Automobile Industries, Hydraulic Applications, Pneumatic Application, Air Compressor, Gas Compressor, Injection Molding Machines, Extrusion Machines and die set for multiple applications since last 25 years. We have made massive investment in Plant & Machinery and Inspection Equipments to achieve our prime objective of production of high quality products.
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Asylum Records es una compañía discográfica británica perteneciente a Warner Music Group.

Historia
Asylum fue fundada en 1971 por David Geffen, operando como un sello de rock. Un año después, fue adquirida por Warner Communications, formando parte junto con Elektra Records de lo que sería "Elektra/Asylum Records." David Geffen permaneció al cargo de la compañía, hasta 1975, retirándose por problemas de salud.

Elekta/Asylum Records paso a llamarse Elektra Entertainment en 1989, mientras 'Asylum Records' se convirtió en una sucursal inferior. En 1992, Asylum fue reformada dentro de una discográfica de country con sede en Nashville, pero operando aun con Elektra.

Después de estar ináctivo varios años, Asylum renació en 2004. La nueva disquera se centra en el hip hop, y está dirigida por Warner Music Group.

Artistas
 John Fogerty
 Alesha Dixon
 Anne-Marie
 Trae
 Partners-N-Crime
 Bob Dylan
 Hot Wright
 Paul Wall
 Mike Jones
 Bun B
 Charli XCX
 D4L
 Lil Boosie
 Webbie
 Geto Boys
 Lil Wyte
 Cam'Ron
 Juvenile
 Frayser Boy
 Z-Ro
 Scarface
 DukeDaGod
 Tom Waits
 Trae
 Ed Sheeran
 Rudimental
 Rita Ora
 Metallica (1986, Por Master Of Puppets)

Referencias

Discográficas de rap
Warner Music Group

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Report of Tesla Playtest #1 — Changes in the Mechas
On Tuesday, I managed to test-draft with James Bartolotti, hubatish, Jules, and myself. This isn't the first playtest for Tesla, but for convenience I would like to call it playtest #1.
Thank you for your Mecha design ideas. Your input was helpful in creating the test draft set. I could not incorporate all of the different ideas, especially since I only had time to finish the Commons. But any of the ideas are potentially seeds for future ideas. I would like to discuss them in the next few posts.
For this post, I would like to show the Mecha designs I adopted for the test. (The names have been slightly edited since the test and I've added art as well.)
The Mecha Parts
And I'm hoping the joined back side can look something like this:
(click on image to enlarge)
This is just a rough mockup. Each type of Head and Body would have different art on the back, reminiscent of how they look in the front. The art for the top half of a Mecha could be shaped as a tank turret, a plane cockpit, a humanoid torso, etc. The bottom half could be wheels, treads, rocket engines, insectoid legs, humanoid legs, etc. They connecting portion will be standardized so that the cards can connect with each other regardless of the combination.
If we go with this style, we will need a new card frame template on Magic Set Editor sometime in the future.
The idea for a vertical connection was proposed from an early stage, but I believe it was Nich Grayson's idea to put the joined text box on the right side.
Changes to the Mecha Mechanic
We tried some changes with the Mecha Mechanic for this draft. First of all, the mechanic on the front side reads:
Combine (At the beginning of your end step, if you control this Body and a Head, you may untap, transform, and join them as one card. It inherits any targeting, Auras, Equipment, and counters.)
It gives you the choice to combine a Body with a Head each turn rather than only trigger when a Part enters the battlefield. If you're not sure the opponent is holding removal, you don't have to transform it right away.
The choice to transform comes at the end of your turn, so that players don't have to worry about whether it has summoning sickness or not. (We will still need to add a clause defining the summoning sickness status of the joined cards, though.)
Most importantly, the back part has a new rule about how to handle the Mecha being destroyed, exiled, or bounced:
"If this would move to another zone, the player whose turn it is chooses which half moves there. Return the other half to its owner's hand."
This negates the 2-for-1 factor, making it much less risky to play Mechas. This is based on a change that hubatish proposed:
"If this creature would move to another zone, instead move one half to that zone and return the other half to your hand."
hubatish explains: "This way we don't have to write "disconnect and transform" which might be confusing. It also gives a tempo boost for killing a mecha, but doesn't wreck the mecha player. Keeping the rare part and reusing might be part of the appeal as well - I don't think it's too strong."
I like how hubatish's version allows the Mecha player to rebuild the next Mecha quickly by recycling whichever half that he or she needs the most. The most fun games in testing so far were games where players got to build, destroy, and rebuild Mechas multiple times. In truth we've only had one such test game so far though, so the fact that this tweak supports that kind of rebuilding is a wonderful thing.
The one problem is that it allows you to recover a problematic Part over and over again. Allowing players to repeatedly play the same threat is usually not good game play.
Devin E. Green had suggested an earlier version of this, where the player who targeted the Mecha with removal gets to choose which part to destroy. "Each half of this mecha is targeted individually. If either half of this mecha would change zones, transform the other half."
Devin explains, "Think about it, every Giant Robot movie has a point where the main mech gets damaged and has to fight on with just its reserve power!"
This version allows players to get rid of problematic parts with removal. If a lifelink Head is giving an aggro weenie player trouble, that player can use removal to perform a Head-shot, and the Body transforms back. It seems fitting for a Mecha battle to have this element of selective part-destruction attacks, and the choice-making this involved seems like great game play.
Unfortunately, Devin's version about targeting half of a card would probably lead to rules conundrums. It also doesn't define what happens when the Mecha dies during combat. I would want the person who took the action leading to the death of the Mecha to choose which part is destroyed, but it's hard for the rules to concisely define who was responsible for the Mecha's destruction, if you consider the large number of cases such as combat damage, wrath effects, or even proliferating a -1/-1 counter.
To combine the best of both of these two versions, I introduced the clause that the active player gets to choose which side becomes scrapped. To write it out again, it is: "If this would move to another zone, the player whose turn it is chooses which half moves there. Return the other half to its owner's hand." I admit it is a weird and unintuitive clause, but I do think it leads to good game play.
I am hoping that this new version encourages proactive attacking. When you control a joined Mecha, you will be less afraid to send it into attack. Whether your Mecha dies to trading, a Smite, or a combat trick, you get to choose and salvage whichever part is more important. The opponent is also encouraged to attack. If you choose to hold back the Mecha for blocking, the opponent might attack into it and kill it with a combat trick, which will grant him or her the choice of which part to destroy.
Players will also be able to kill problematic parts with removal just like in Devin's version, because it's not hard to use removal on your turn. Overall, this rule should usually give the choice of what to destroy to the more proactive player who deserves to make that choice.
The problem with this fix is that the flavor is unclear. In that sense, it's similar to the Werewolf mechanic in Innistrad, where it's not completely clear what the number of spells cast in a turn signify. Admittedly though, the Werewolf mechanic's trigger still has a bit of subtle flavor to it while this mechanic has none.
However, some of the largest problems with the Mecha mechanic is its riskiness and swinginess. It would be extremely valuable if we can make the mechanic more stable and choice-oriented, so I believe the addition of a flavor-neutral clause is worth it.
Unfortunately, we weren't able to test it enough times during the draft test, but I hope to test this (as well as many other versions that were suggested) in further tests. Please let me know what you think of this version.
I will also be updating on what we learned from the draft, and the potential in other ideas that were submitted.
Posted by Chah at 11:02 PM
Labels: card design, set design, Tesla
HavelockV August 10, 2013 at 10:14 AM
I don't like the additional complexity of having the choice depend on whose turn it is. Mecha are complex enough.
Chah August 10, 2013 at 12:04 PM
As complex as Mechas are, I think the biggest problem is actually in the game play. I don't think we can just ignore the 2-for-1 problem of Mechas. Mechas are also prone to becoming a swingy, draw-dependent mechanic. Do you have another solution to these two things?
We could weaken the removal and/or make the flip side bombier to be worth the risk, but that would just exacerbate the swinginess factor.
While the DFC mechanic increases complexity, it also makes complexity more manageable by chunking it into two parts. Werewolves have three lines of text on the front and four lines of text on the back just from the triggers alone, and some had other abilities, even at Common. That's almost as many lines as Warp World or a Planeswalker. But despite this, it's manageable when the information is naturally chunked and you only have to read the trigger that is currently important.
HavelockV August 10, 2013 at 2:03 PM
My objection is to the phrase "the player whose turn it is", which adds unnecessary and unintuitive complexity. I'm also not a fan of referring to zone changes, since most players don't know what that means.
I prefer either of the following:
"When this creature dies, you choose one of its halves. Return that card to its owner's hand."
"When this creature dies, choose one of its halves at random. Return that card to its owner's hand."
Chah August 10, 2013 at 7:02 PM
I'm just going to list out the considerations first, then write my point in the next post:
I considered "choose one of its halves at random. Return that card to its owner's hand." But it would hold up the game with a coin flip or die roll every time, and it would also add more luck to a mechanic that already has too much luck in it.
It's possible that some people might consider it a fun, tense moment, though.
"When this creature dies" sounds much more like a real Magic card, so I see the point in it, but we also need to spell out what happens to the card when it gets hit by a Time Ebb or Oblivion Ring. I imagine it becoming very wordy.
"If either half of a joined creature would move to a library, hand, or be exiled, move both halves to that zone. When this creature dies, you choose one of its halves. Return that card to its owner's hand."
Do we just leave it the first part to intuition or tell players to learn how it works from an external source? I guess morph and soulbond required outside reference to really understand, but that route doesn't seem like a better option to what it's replacing.
I think that returning the half of your choice is going to cause a lot of difficulty in balancing, especially with bomby Parts.
- We want powerful Heads/Bodies for Constructed if possible.
- The purpose of the mechanic is recombination, so it's better if we have a whole cycle of Constructed-playable Heads/Bodies to choose from. They're going to appear in Limited very often.
- We need lots of cards like Gift of the Gargantuan or Faerie Mechanist to enable this mechanic in Limited. They are going to help fetch the powerful Heads/Bodies.
- We might want to make Heads/Bodies more playable by giving them ETB abilities and transform triggers. In that case, recurring them would be annoying.
These things are going to make the selective recursion very troublesome. Maybe we can sacrifice some of these objectives to make recursion less of a problem, but it will be costly.
There is a chance that adding an activation cost for transformation will make destroying a Mecha more of a tempo hit and help balance it, though.
Taking all of these things together, I think it boils down to whether we want to prioritize game play or natural-looking text. If my version caused people to be confused, then it wouldn't even be an option. But it's only unintuitive in the sense that people look at it and think "hey, that's weird." It's not unintuitive in the sense of being confusing to process.
I often wonder what the Mecha mechanic is doing for the set other than just being splashy on a surface level. When I look at a mechanic like Equipment, Planeswalkers, Werewolves, Exalted or Ninjutsu, I can tell what it's doing to enrich the game or the set. Do you know what I mean? They don't just play fun in and of themselves, they add another layer of depth to the rest of the set. I think major mechanics are meant to be like that.
But when I look at previous versions of Mechas, I can't tell what it's doing to enrich the game, it's just being splashy and swingy. I'm fine with that if it's just one small compartment of cards like Slivers or Arcane. But if a mechanic is causing the whole set to bend over backwards for it, only to make that compartment of cards better without enriching or adding depth to the game play of the rest of the set in a meaningful way, that's a big problem.
With the fix I proposed, we can solve the problem of randomness, excessive recursion, and unplayability. We can also make this mechanic matter to how you attack, block, or target this thing; in other words we can make the Mechanic matter a little more for the whole set's game play.
This mechanic takes the entire set to support. If we don't find a reason why it adds a layer of game play to the set rather than just being interesting as an isolated compartment, then it doesn't even matter if it's simple anymore; it doesn't have a reason to exist. I don't see why the naturalness of text should take priority over game play. It's still a clean-cut and simple enough rule, just flavorless.
Jay Treat August 10, 2013 at 10:27 PM
I want to hear more about how the equipment, etc enrich their set beyond just being fun in and of themselves. Certainly, their existence helped shaped the sets they were in, but mecha are already doing that for Tesla. I'm not sure what Chah is talking about, but it sounds fascinating and possibly very awesome.
Pasteur August 11, 2013 at 1:25 PM
Not to put words in Chah's mouth, but I think I'm definitely agreeing with him. But, equipment at least is easy. (That is, outside of being flavorfully fun, since everyone loves swords, literally everyone.) Equipment change the value of creatures, especially small creatures (which happen to be the centerpiece of Magic), more than almost any other card type. The fact that they are generally colorless means that they affect even more creatures, as while it's better to suit up some than others, almost any will be a combo. A Tormented Soul with a Loxodon Warhammer is probably better than a Runeclaw Bear with one, but both are allowed to be fun. The fact that they change the tempo of the game, with separatable payments for playing and equipping, means that the curve of the format can be differently balanced or controlled (see Innistrad). How much they affect board states and card evaluation is usually balanced out by the fact that A: there are not that many of them and B: they are fun!
Planeswalkers also are fun and flavorful for all the obvious reasons, but they also enrich gameplay by again putting a focus on creatures as a primary means of interaction. One of the other things they do is allow you further choices and actions on turns when you draw blanks, but that's just friendly (and powerful) design.
Werewolves, being creatures themselves, don't necessarily bring creatures more into focus, but they do combo on both sides of the board with every spell that you cast in the game. Every spell both players cast can affect Werewolves, in addition to the interaction they have with things like Equipment or Planeswalkers (which allow you to invest in things without casting a spell).
The translation I think that needs to happen is that Mechas could use an additional layer of interaction without adding considerable extra weaknesses. Glacial Ray may want additional Arcane spells, and a Mecha may play well with Faerie Mechanists, but neither one cares altogether that much about a Runeclaw Bear. Werewolf played on its own, Flashback played on its own, but the two intersected in very interesting ways. Is there anything we can design that can intersect with Mecha in an interesting way? And of those things, can we find one that would be interesting/fun/stands-well-on-its-own?
Thanks, Pasteur, you took the words right out of my mouth!
Indeed! (Though I'm not convinced Planeswalkers put any focus on creatures, despite their important interactions with them.)
So Werewolves made us care how many spells were cast in a turn, and Flashback layered onto that by helping us cast more. What do Mecha make us care about? Tutoring/filtering? Pairing up card types? Protecting pieces of a combo? Big things?
We could use cycling to help players work toward their combo, or headcycling and bodycyling to, um, make us throw up in our mouths a little. If we did bring cycling back, we shouldn't evolve it directly since there's only one set in the block, but we could let it combo in some new way. Maybe lots of "whenever you draw" and "whenever you discard" effects?
We could take some cues from Rise of the Eldrazi for slowing the game down long enough for people to assemble their mechs. Defenders could fit the theme if we're fighting giant monster/aliens.
Pasteur August 11, 2013 at 11:15 PM
There's been almost no mention of a "lands-matter" theme, but let's imagine there was one. If you have Landfall, or something like it (since there's other space to explore there), you could also have a variant on Dig. Imagine "cascade until you hit an artifact or land, then put that into your hand". If the mechas have a sort of "buried technology amongst the ruins/in a post-apocalyptic landscape", you've got a smoothing mechanic that can also help you find heads/bodies. But while that's functional it's not especially exciting.
If the keyword we end up using for the Mechas is more open-ended/modular/similar to Soulbond, that could justify it being used on some colored creatures in interesting ways and on Mechas in one consistent way (like how werewolves shared a trigger but other DFCs existed in parallel). Another option would be Mechas that can be assembled and noncreature contraptions that can also be Assembled, just to help offset the weight on the set.
What if all the Mechas were bodies that you Operated (somehow, probably involving tapping a creature and/or paying a mana cost in some way) to transform them? DFCs still have space for us to explore, and if it *is* a post-apocalyptic set, there's all sorts of weird transformations and things that can be displayed for non-artifacts. In general, front-side-defunct/back-side-powered-on could be interesting space to explore with any number of artifacts, and *maybe* some/a lot of the backsides specifically combine together in some way to be arms/legs/cool-fighting-robots.
Something like Exalted (maybe Exalted itself) could emphasize combining your cards into one bigger threat/the one-on-one nature of monster vs. robot (which has parallels to but is a far cry from Bant's sigiled duelists). It's probably not enough but it could play a role if DFCs don't take up the returning-mechanic slot.
If the Mechas turn out to be big, stat-overriding Equipment, then seeing am even stronger "equipped" theme than we've seen before isn't out of the question, but we do seem to be leaning away from that.
Fortify is something we could try out again? It's another "lands and artifacts" bit, and you could even potentially have missile-defense-esque fortifications alongside DFCs.
Head probably needs to be a supertype, otherwise what happens if I turn my Werewolf into a Head creature somehow?
Jay Treat August 10, 2013 at 2:31 PM
Changelings ruin that too. Could be a supertype, or we could just reference "artifacts with Head" provided we make that a keyword. So... supertype?
Nich Grayson August 10, 2013 at 10:07 PM
Head and Body can just be artifact types.
Benjammn August 10, 2013 at 10:10 PM
Supertype is probably the easiest answer to the problem. I'd vote to revisit the Alpha/Omega names to make it more flavorful than Head/Body.
Mirrorweave could foil both keywords and supertypes.
I guess we just have to introduce a term to mean "join them transformed" and the rules say that you ignore that effect if the backside isn't a B.F.M. card. That's similar to how token copies of DFCs work; transform is ignored for those.
@Nich: Can an artifact creature have artifact subtypes, or does its creatureness lock into only having creature subtypes? Is the answer moot if only 1% of players will understand the difference?
Pasteur August 11, 2013 at 6:09 AM
Introduce a term to mean "join them transformed", hm? Maybe... assemble?
Nich Grayson August 11, 2013 at 10:47 AM
@jay Honestly it's something WotC hasn't had to have to do. The only example I give of a card with two card types with two subtypes is Dryad Arbor. Its a Land Creature - Forest Dryad. There's no reminder text saying Forest is a land type and dryad is a creature type. It relies on player knowledge of those subtypes from previous cards.
I like Head/Body being artifact types because it prevents unwanted interactions in formats with Mistform creatures or changeling without drawing unnecessary attention in the current format. But the only way to establish that is to have examples in Tesla of Head/Body artifacts in the set that AREN'T also creatures. The rules faq would say two new artifact types have been introduced (Head and Body) and one new creature type (Mech).
TehWERR August 11, 2013 at 12:13 PM
why [u]do[/u] the flipped side of mechs have to be creatures? couldn't you have an equipment that turns into a head? land that turns into a body? wow that's a lot of design space probably not worth delving!
For changelings I think some kind of simple "if" clause to make sure that the head you're targeting actually transforms could work: "At the beginning of your end step, if you control a Head, you may transform it. If you do transform this and untap both creatures, joining them as one card. It inherits any targeting, Auras, Equipment, and counters.)" Creatures that already transform were my biggest concern.
James Bartolotti August 12, 2013 at 2:55 PM
6: Combine ~ with target Head. (To combine, untap, transform, and connect both cards)
The rules can then handle what happens if you try to Combine a Body with a cloned Head or a changeling werewolf (i.e., nothing happens).
I also want to say I support trying one of the halves as non-creature artifacts on their front face, so you don't have to worry about the card dying before you can Combine it.
TehWERR August 10, 2013 at 9:47 PM
why not: "If this would leave the battlefield, the player whose turn it is chooses one half. Return that half to its owner's hand."?
I think the problem with your wording wasn't that it mechanically mentioned things that aren't part of rules text. it was that you decided to word it awkwardly:
"move to another zone" ---> leaves the battlefield
"chooses which half moves there." ---> "chooses one half"
"Return the other half to its owner's hand." ---> "Return that half to its owner's hand."
it's a direct translation (except for the change to positive effects), but uses mostly only magic lingo. (can't do anything about the turn thing, but I think stretches can be made)
That's a great improvement of phrasing if we go this route.
However, many players might think that this is replacing the movement, and not understand that the half that is not chosen still moves to where it was moving.
"As this leaves the battlefield, the player whose turn it is returns half to its owner's hand."?
I was about to post the same one as Jay.
But reading it over, somehow the intent of the mechanic seemed obscured, even though the mechanical way it worked was clear.
It should sound like you get to choose which part to hit with the exile, destroy, Time Ebb, or bounce effect. It shouldn't sound like you choose which part to save, and let the other side get hit (even if it's functionally the same thing). I feel like this really affects whether people will get the mechanic at first read, and that's more important than sounding like normal Magic text.
The way that B.F.M cards work with zone change effects has to be defined by the Magic rules, not by the card text, because card text can be wiped out with cards like Humility. So if we do this, we should put the explanation on zone-change in parenthesis; it will only be a reminder of the actual rules that are making it happen. If it's in parenthesis, it should be ok to use non-standard text, so we should try to maximize communicating the intent that you get to choose which side to get rid of during your turn.
In parenthesis:
(If a joined card would leave the battlefield, the player whose turn it is chooses which half leaves. Return the other half to its owner's hand.)
This would better communicate the mood that "you get to choose what to destroy on your turn" on first read.
This hasn't been mentioned yet, but I think it's funny that, in multiplayer, Player A can destroy Player B's mech, but Player C gets to choose which half dies just because it happen during her turn.
I agree that we need an extra sentence to denote that the other half goes where intended. I thought of that after I posted the wording. this will all have to be in reminder text of course. also it is much better worded as... "If this would" or "Whenever" so that it works in the rules like a triggered ability just like many other important functions of the game.
also, yes, in reminder text you do not need to always use exact rules text. but you should stay really close so that you don't confuse players familiar with magic English.
That is hilarious.
I don't think that's horrible since if Player A really wants to destroy a certain part, s/he could do it during his or her own turn. I do see the flavor disconnect though.
A way to shoehorn things in, just to test:
Missile Defense (front side) 4
Artifact - Contraption
T: ~ deals 1 damage to target attacking creature without flying.
\\\\\\\\\\\\\\\\\\
Rocket Defense (back side)
T: ~ deals 2 damage to target attacking creature. It doesn't untap during its controller's next untap step.
Basic Rigger 2U
Rigger Creature - Human Artificer
T: Assemble target Contraption. (To assemble a contraption, pay the difference in mana costs between the contraption and this. If you do, transform the contraption.)
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Coalition works to end Lebanon County homelessness
John Latimer
Hear the word homeless and the image of a grizzled man pushing a shopping cart may come to mind.
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Flavor is Vanilla Caramel Custard, a CBD additive that can be used: sublingually, added into your favorite e-liquids, added to your food or drinks, or vaped alone.


Amazon has the Bowflex SelectTech 552 Adjustable Dumbbells Set (Pair) + 5.1-Series Adjustable Weight Bench for a low $299 Free Delivery. This is a terrific deal for the set and you'd pay closer to $350-$400 if you were to try to buy both of them on sale separately.
This can save you a ton of money and space in your house as an alternative to a rack of weights.


Doctor Who's recreation of Dalek invasion of Earth for docudrama!
BBC has posted some photos of the recreation of the Daleks in the original series of Doctor Who with the First Doctor (William Hartnell) for the docudrama An Adventure in Space and Time. The episode was from the second season and called Dalek Invasion of Earth. Executive producer and writer Mark Gatiss is shown in the photo holding the film clapper.
The docudrama is for the 50th Anniversary of Doctor Who.


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text:
Bossypants (Hardcover, 1st)
Tina Fey | Reagan Arthur Books | 4/5/2011
Very Good (0) -
Spirited and whip-smart, these laugh-out-loud autobiographical essays are "a masterpiece" from the Emmy Award-winning actress and comedy writer known for 30 Rock, Mean Girls, and SNL (Sunday Telegraph).
Before Liz Lemon, before "Weekend Update," before "Sarah Palin," Tina Fey was just a young girl with a dream: a recurring stress dream that she was being chased through a local airport by her middle-school gym teacher. She also had a dream that one day she would be a comedian on TV.
She has seen both these dreams come true.
At last, Tina Fey's story can be told. From her youthful days as a vicious nerd to her tour of duty on Saturday Night Live; from her passionately halfhearted pursuit of physical beauty to her life as a mother eating things off the floor; from her one-sided college romance to her nearly fatal honeymoon -- from the beginning of this paragraph to this final sentence.
Tina Fey reveals all, and proves what we've always suspected: you're no one until someone calls you bossy.
(Includes Special, Never-Before-Solicited Opinions on Breastfeeding, Princesses, Photoshop, the Electoral Process, and Italian Rum Cake )
Dimensions: 6.26 (w) x 9.49 (h) x 1.26 (d)
Books Biography & Autobiography Entertainment & Performing Arts
Books Art, Photography & Music Film & Video General
Books Art, Photography & Music Art General
Books Art, Photography & Music Comedy
Books Humor Humor Form Essays
Books Biography & Autobiography Women
BookMonsterBiography & AutobiographyEntertainment & Performing Arts
Other Binding, Edition Books
See Mores
(Mass Market Paperback)
(Hardcover, Compact Disc, SLP)
Bachelor Nation: Inside the World of America's Favorite Guilty Pleasure
Hey Mom: Stories for My Mother, But You Can Read Them Too
True Stories from an Unreliable Eyewitness: A Feminist Coming of Age
I'll Never Change My Name: An Immigrant's American Dream from Ukraine to the USA to Dancing with the Stars


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This big fiberglass pod comes with options, just like a car. The three lids on top can be impact-resistant or fully bulletproof. And you can boost performance with add-ons like a diesel engine, CB radio, activated-carbon air filter, and remote start package. You might park it out back for emergency use - could come in handy at millennium's end - but don't expect to take it on the road.
What is it, anyway? And what does it do?
The rules: For a chance to get out and enjoy the open road on a Harley-Davidson Sportster, identify the item pictured at right (by manufacturer or designer) and its function. Correct entries will be placed in a random grand prize competition, with one winner drawn early next year awarded a Harley-Davidson XL 1200S Sportster. For contest rules, prize information, and the answer to August's "What Does It Do?" click here.


text:
Q: Android studio 3.0 beta 3.2 canary: Multiple dex files define Lcom/google/android/gms/internal/zzasy; I update android-studio 3.0 from canary 6 to beta 3.2 and suddenly it stop throwing multiple dex issue. And I have already handled multiple dex configuration according to this link: https://developer.android.com/studio/build/multidex.html
Also updated build tool version to 26.0.1 and all firebase and play service has same version which 11.2.0
 Error:Error converting bytecode to dex:
    Cause: com.android.dex.DexException: Multiple dex files define
    Lcom/google/android/gms/internal/zzasy;
    Error:com.android.dex.DexException: Multiple dex files define
    Lcom/google/android/gms/internal/zzasy;
    Error:  at
    com.android.dx.merge.DexMerger.readSortableTypes(DexMerger.java:661)
    Error:  at
    com.android.dx.merge.DexMerger.getSortedTypes(DexMerger.java:616)
    Error:  at
    com.android.dx.merge.DexMerger.mergeClassDefs(DexMerger.java:598)
    Error:  at
    com.android.dx.merge.DexMerger.mergeDexes(DexMerger.java:171)
    Error:  at com.android.dx.merge.DexMerger.merge(DexMerger.java:198)
    Error:  at
 com.android.builder.dexing.DexArchiveMergerCallable.call(DexArchiveMergerCallable.java:61)
    Error:  at
 com.android.builder.dexing.DexArchiveMergerCallable.call(DexArchiveMergerCallable.java:36)
    Error:  at
java.util.concurrent.ForkJoinTask$AdaptedCallable.exec(ForkJoinTask.java:1424)
    Error:  at java.util.concurrent.ForkJoinTask.doExec(ForkJoinTask.java:289)
    Error:  at java.util.concurrent.ForkJoinPool$WorkQueue.runTask(ForkJoinPool.java:1056)
    Error:  at java.util.concurrent.ForkJoinPool.runWorker(ForkJoinPool.java:1692)
    Error:  at java.util.concurrent.ForkJoinWorkerThread.run(ForkJoinWorkerThread.java:157)
    Error:Error converting bytecode to dex:
Cause: com.android.dex.DexException: Multiple dex files define Lcom/google/android/gms/internal/zzass;
    Error:com.android.dex.DexException: Multiple dex files define Lcom/google/android/gms/internal/zzass;
    Error:  at com.android.dx.merge.DexMerger.readSortableTypes(DexMerger.java:661)
    Error:  at com.android.dx.merge.DexMerger.getSortedTypes(DexMerger.java:616)
    Error:  at com.android.dx.merge.DexMerger.mergeClassDefs(DexMerger.java:598)
    Error:  at com.android.dx.merge.DexMerger.mergeDexes(DexMerger.java:171)
    Error:  at com.android.dx.merge.DexMerger.merge(DexMerger.java:198)
    Error:  at
 com.android.builder.dexing.DexArchiveMergerCallable.call(DexArchiveMergerCallable.java:61)
    Error:  at
 com.android.builder.dexing.DexArchiveMergerCallable.call(DexArchiveMergerCallable.java:36)
    Error:  at java.util.concurrent.ForkJoinTask$AdaptedCallable.exec(ForkJoinTask.java:1424)
    Error:  at java.util.concurrent.ForkJoinTask.doExec(ForkJoinTask.java:289)
    Error:  at java.util.concurrent.ForkJoinPool$WorkQueue.runTask(ForkJoinPool.java:1056)
    Error:  at java.util.concurrent.ForkJoinPool.runWorker(ForkJoinPool.java:1692)
    Error:  at java.util.concurrent.ForkJoinWorkerThread.run(ForkJoinWorkerThread.java:157)
    Error:Execution failed for task
    ':app:transformDexArchiveWithDexMergerForAkashDebug'.
    > com.android.build.api.transform.TransformException:
    com.android.dex.DexException: Multiple dex files define
    Lcom/google/android/gms/internal/zzasy;

A: This is due to an update in the play services dependencies. With Android Studio 3.0 and above, google dependencies have moved to maven.google.com. Also, it is now recommended that you use module level dependencies. For eg:
implementation 'com.google.android.gms:play-services-places:11.2.0'
For more info on this check this

*

*So move all your dependencies to module level dependencies with v11.2.0
Add this to your build.gradle
repositories {
   mavenCentral()
   google()
 }

*Replace all your compile statement to implementation

*Delete your .idea folder in the project and rebuild. Everything should work fine then.

redpajama_set_name: RedPajamaStackExchange


Four young South Adelaide stars have been named in the 2018 Statewide Super SA U18 Girls Squad.
Composed defender Jaslynne Smith, tough on-baller Nikki Gore, talented junior Teah Charlton and ruck Montana McKinnon will all be a part of the squad which will confront Northern Territory in Darwin this weekend.
The girls will front up for the Croweaters in two matches to be played at TIO Stadium on Friday May 25 and Sunday May 27.
Smith, Gore and McKinnon all played key roles in the Panthers premiership success in their inaugural Statewide Super Women's League campaign, while Charlton is highly rated junior talent who joins the State Program as an Under-16 aged player.
Fellow premiership midfielder Hannah Munyard was also unlucky to miss selection due to a slight knee strain, after being named in the initial squad of 26.
South Australia's coaching panel will also have an influence from Noarlunga, with senior women's Assistant Coach, Rick Watts taking on duties guiding SA's forwards.
Once the Croweaters clash with Northern Territory in two matches, SA and NT will then combine to become the Central Allies to take part in the 2018 AFL U18 National Championships on the Gold Coast from July 9 to 13.


On the eve of the 2017 Primetime Emmys, we at Sartle recall our longstanding love affair with television. We've given our art-historical takes on series ranging from BoJack Horseman and Game of Thrones, to The Crown and the Handmaid's Tale; all of which are nominated for Emmys this year! We pay tribute to the 69th Awards by showcasing five of our favorite recent art cameos on the small screen.
Susan Sarandon as Bette Davis and Jessica Lange as Joan Crawford in Feud: formidable adversaries.
In FX's Feud: Bette and Joan, Ryan Murphy showcases his signature style of seamlessly blending dry wit and bloated melodrama into the most sublime of high camp. Susan Sarandon (Bette Davis) and Jessica Lange (Joan Crawford) are nominated against each other for outstanding actress in a limited series or movie, mirroring the real-life rivalry of the film stars they play.
We've previously paid homage to Murphy's flair for the visual in American Horror Story: Freak Show. Feud is subtler in its points of reference, but art fans will delight in a few in-jokes. One such highlight has a young Don Bachardy, celebrity portraitist and partner of Christopher Isherwood, drawing a past-her-prime Bette Davis as she rather shamelessly flirts with him. After he reveals the finished product (and the fact that he is gay) she responds, "Yep. That's the old bag,": appropriate, since Bachardy sketched stars with unflattering precision, after the fashion of Alice Neel. Margaret Keane's kitschy portrait of Joan Crawford also makes an appearance in the set decoration, for fans of the "big eyes" queen and her Tim Burton biopic.
Bette Davis by Don Bachardy (left). Joan Crawford by Margaret Keane (right).
Scene from Feud, featuring the Keane portrait.
Promotional materials for The Crown: John Lithgow as Winston Churchill appears center from front.
Netflix's mega-drama, The Crown, definitely reigns supreme this season for an artwork playing an integral role in the plot. Episode 9, Assassins, revolves around Graham Sutherland's notorious portrait of Winston Churchill, played by John Lithgow in an Emmy-nominated performance. In 1954, members of the Houses of Commons and Lords commissioned the portrait to hang in Parliament. As the greatest statesman in British History, no doubt Churchill expected to appear as a heroic ideal, but the daring modernist painted the Prime Minster exactly as he saw him; as a toothless tiger worn-down by age and decades of public service.
Churchill was horrified, and Lady Churchill evidently dismantled and incinerated the painting to spare him humiliation, spurring a debate over the rights of private owners to destroy works over the rights of artists/the public to preserve them. The climax of episode 9 depicts a cathartic, ritualistic burning of the piece. The original is forever lost to time and vanity, but a secret copy may exist in a private gentlemen's club in London, and Sutherland's preliminary sketches are in the National Portrait Gallery.
Winston Churchill by Graham Sutherland (left). Recreation of the portrait with John Lithgow's features (right).
Ellie Kemper as the Unbreakable Kimmy Schmidt.
Painfully amateur forger, Lillian, and eccentric "Cherokee" socialite, Jacqueline, observe the folly of a plot worthy of the criminal mastermind of Lucille Ball.
Netflix's hardboiled superhero noir won an Emmy last year for outstanding theme music, but fell short of a nomination this year. That seems like a missed opportunity, with the female-oriented comic flick Wonder Woman emerging as the only bonafide blockbuster of the summer. But Jessica Jones doesn't warrant a nomination simply for having its pulse on the right side of the pop-culture zeitgeist. Krysten Ritter is perfect as an imperfect hero, and the seedy atmosphere lends itself to deconstructing the glossy stereotypes of the genre. That sense of atmosphere is due in part to the use of Egon Schiele's Seated Woman with Bent Knee as Jessica's focal piece of apartment decor.
Scene from Jessica Jones, accented by Seated Woman with a Bent Knee.
Though his personal relationships with women (or girls) were suspect, Schiele had a way of humanizing rather than romanticizing downtrodden women in his art. This aesthetic fits in perfectly with Jessica Jones' gritty, whiskey-slugging brand of feminism.
Seated Woman with Bent Knee by Egon Schiele, in the National Gallery in Prague.
From Alias (Part One) by Brian Michael Bendis, 2001.
Eleanor Tomlinson as Demelza, Aidan Turner as Ross, and Heida Reed as Elizabeth, in Poldark.
Like Jessica Jones, the recent reboot of BBC's Poldark lacked a nomination this year, but deserved a nod. Based on the historical novels by Winston Graham, Poldark follows the brooding antihero Ross Poldark (Aidan Turner), who returns from fighting on the wrong side of the American Revolution to resurrect his family's crumbling mining empire in between juggling his icy ex-fiancee (Heida Reed) and fetching kitchen maid (Eleanor Tomlinson). Mining and wench-juggling also provide a convenient excuse for Ross to spend much of the series shirtless, well-tanned and sweaty.
With the high-budget-pornstar good looks of the leads and countless vistas of surf-battered Cornwall, Poldark has enough gratuitous Eye candy and moody establishing shots to watch like deleted scenes of Game of Thrones. However, It also encapsulates everything that still makes the BBC the very best of television: lurid drama narrowly saved from soap opera by impeccable performances and top-notch production values. Poldark certainly delivers on that score, with the aid of inspired art direction such as Gavin Lines mock eighteenth-century portraits. Lines' sense of the aesthetics of the period is so historically well-informed as to suspend disbelief, even in the face of plot twists fit for Skins.
Heida Reed as Elizabeth by Gavin Lines (left). Portrait of Elizabeth Chew Smith by John Hesselius, in the Los Angeles County Museum of Art (right).
These are just a few of many wonderful moments of art on TV in the past couple seasons. Be sure to check out our other blogs on TV and film. And if we forgot your favorite reference, or if there's a particular show you'd like to see us cover, please leave a comment to let us know!
See you at the Emmys!


International distributor Eccho Rights have agreed a deal with JTBC in Korea, to represent the format rights for Secret Affair, the award winning drama series.
The original series, which aired in 2014, won several prizes in Korea, including the Baeksang Arts Award for Best Screenplay.
Secret Affair tells the story of a forbidden love between a well-to-do, successful woman in her forties, and a much younger man. Though he has none of her class and sophistication, his prodigious musical talent is enchanting and the two are unable to resist each other.
"We are very proud of this script and judging by Eccho Rights' track record in creating excellent remakes with independent producers, we are looking forward to see it continue to travel in new markets," says Paul Chong, Director of Emerging Markets at JTBC.
Though producing a series about an older woman falling for a young man was considered unconventional and daring for JTBC, Secret Affair scored record-breaking ratings for the channel.
"Secret Affair is a format we are delighted to add to our line up as it has such strong international potential. The love story is beautiful and tragic in equal measure, while the well known classical music at the core of this couple's story will be an excellent hook for audiences all over the world," says Deborah Youn, Distribution and Business Development Executive at Eccho Rights' Seoul office.


text:
@interface TwitterStatusCell : SWTableViewCell

@property(nonatomic, weak) IBOutlet UIImageView *userProfilePicture;
@property(nonatomic, weak) IBOutlet UILabel *userNameLabel;
@property(nonatomic, weak) IBOutlet UILabel *statusTextLabel;

-(void) setTwitterStatus:(TwitterStatus *) status;

@end

redpajama_set_name: RedPajamaGithub


text:
<?php

namespace Arnapou\Toolbox\Connection;

class Pgsql extends \PDO {

	/**
	 *
	 * @var string
	 */
	protected $pdoServer = '';

	/**
	 *
	 * @var string
	 */
	protected $pdoDbName = '';

	/**
	 *
	 * @var string
	 */
	protected $pdoUsername = '';

	/**
	 *
	 * @var string
	 */
	protected $pdoPassword = '';

	public function __construct($server, $dbname, $username, $passwd, $port = 3306) {

		$dsn = 'pgsql:host=' . $server . ';port=' . $port . ';dbname=' . $dbname;

		parent::__construct($dsn, $username, $passwd);

		$this->pdoServer = $server;
		$this->pdoDbName = $dbname;
		$this->pdoUsername = $username;
		$this->pdoPassword = $passwd;
	}

	public function query($statement, $mode = \PDO::FETCH_ASSOC) {
		return parent::query($statement, $mode);
	}

	/**
	 *
	 * @param string $sql
	 * @return mixed
	 */
	public function getValue($sql) {
		$rows = $this->query($sql, \PDO::FETCH_NUM);
		foreach ($rows as $row) {
			return $row[0];
		}
		return null;
	}

	/**
	 *
	 * @return string
	 */
	public function getPdoDbName() {
		return $this->pdoDbName;
	}

	/**
	 *
	 * @return string
	 */
	public function getPdoUsername() {
		return $this->pdoUsername;
	}

	/**
	 *
	 * @return string
	 */
	public function getPdoPassword() {
		return $this->pdoPassword;
	}

	/**
	 *
	 * @return string
	 */
	public function getPdoServer() {
		return $this->pdoServer;
	}

	/**
	 *
	 * @param String $table table
	 * @param String $where where clause
	 * @return Int
	 */
	public function executeDelete($table, $where = '') {
		if (!empty($where)) {
			$where = ' WHERE ' . $where;
		}
		$sql = 'DELETE FROM ' . $table . ' ' . $where;
		return $this->exec($sql);
	}

	/**
	 *
	 * @param String $table table
	 * @param Array $datas datas to insert
	 * @return int
	 */
	public function executeInsert($table, $datas) {
		$sql = $this->getInsertRequest($table, $datas);
		$this->exec($sql);
		return $this->lastInsertId();
	}

	/**
	 *
	 * @param String $table table
	 * @param Array $datas datas to insert
	 * @return int
	 */
	public function getInsertRequest($table, $datas) {
		$fields = '';
		$values = '';
		foreach ($datas as $field => $value) {
			$fields .= '"' . $field . '",';
			$values .= ($value === null ? 'NULL' : $this->quote($value) ) . ",";
		}
		$fields = substr($fields, 0, strlen($fields) - 1);
		$values = substr($values, 0, strlen($values) - 1);
		return 'INSERT INTO ' . $table . ' (' . $fields . ') VALUES (' . $values . ')';
	}

	/**
	 *
	 * @param String $table table
	 * @param Array $datas datas to update
	 * @param String $where where clause
	 * @return int
	 */
	public function executeUpdate($table, $datas, $where = '') {
		$sql = $this->getUpdateRequest($table, $datas, $where);
		return $this->exec($sql);
	}

	/**
	 *
	 * @param String $table table
	 * @param Array $datas datas to update
	 * @param String $where where clause
	 * @return int
	 */
	public function getUpdateRequest($table, $datas, $where = '') {
		$sets = '';
		foreach ($datas as $field => $value) {
			$sets .= '"' . $field . '"=' . ($value === null ? 'NULL' : $this->quote($value) ) . ",";
		}
		$sets = substr($sets, 0, strlen($sets) - 1);
		if (!empty($where)) {
			$sets .= ' WHERE ' . $where;
		}
		return 'UPDATE ' . $table . ' SET ' . $sets;
	}

}


text:
The Help to Buy ISA Scandal Explained
Rose - August 23, 2016
If you've seen the news over the past few days, you'll be aware of the Help to Buy ISA scandal. ... https://www.landlordnews.co.uk/help-to-buy-isa-scandal/
If you've seen the news over the past few days, you'll be aware of the Help to Buy ISA scandal. The Telegraph has exposed a clause in the Government's scheme, which could see the Treasury facing legal action.
At the end of last week, the Help to Buy ISA scheme was described as a "scandal", after it emerged that first time buyers will not be able to use the Government's bonus for an initial deposit on their new home.
More than 500,000 hopeful buyers have opened a Help to Buy ISA account since the former chancellor, George Osborne, launched the scheme on the basis that it provided "direct Government support" for those saving for a deposit.
However, it has now emerged that a flaw in the scheme means the 25% Government bonus on savings will not be paid out until the property sale has completed.
Experts claim that this clause renders the scheme technically useless, as it was designed for those struggling to find the initial lump sum to put down on a home, and means that many will still be reliant on loans from family members, if available.
Homebuyers are typically required to provide a deposit of 10% or more of the property's value when they exchange contracts. For many first time buyers, this is all the equity they have to put into the purchase.
The small print of the scheme means the Government bonus cannot be used for this initial deposit, and can only be spent as part of the purchase cost, for example, on mortgage payments, once the deal is complete.
The Treasury has been forced to admit that the clause was included to stop people having access to the bonus without actually buying a home.
The accounts, which launched last year, allow customers to save up to £200 per month, to which the Government adds 25%, up to a final total of £15,000.
So far, less than 1,500 people have used the ISAs to help them buy a home, as the limit on how much can be paid into the account each month means they have only just accumulated a realistic amount to put towards a deposit.
Andrew Boast, of SAM Conveyancing, comments: "It is a scandal. The Government launched this scheme declaredly to help people save the large exchange deposit required to buy a home. But what unsuspecting first time buyers are now horrified to discover is that, under the scheme rules, they cannot use the bonus as part of this deposit."
Sources at high street banks said they were unaware of the restrictions, which state: "The bonus cannot be used for the deposit due at the exchange of contracts, to pay for solicitor's, estate agent's fees or any other indirect costs associated with buying a home."
Banks and building societies have been selling the ISAs on the premise that they can be used to boost deposits. They may now be forced to change their advertising.
HSBC's website says: "Saving up for a deposit for your first home? Open an HSBC Help to Buy ISA and the UK Government will reward you with an additional 25% of the amount you save, up to a maximum of £3,000."
A promotional video by Halifax claims it will help customers "save for a bigger deposit", while NatWest provides an online tool to show how a Help to Buy ISA could "help save for the deposit on your first home".
The advertisements reflect Osborne's comments when he launched the scheme. He claimed: "This new ISA provides direct Government support to anyone saving for the deposit on their first home."
Since the scandal broke, the Treasury has backtracked on the original statement, claiming it was never intended to boost deposits. A spokesperson insisted that the bonus was instead designed purely to reduce the size of buyers' mortgages, by boosting the equity they put it on completion.
After The Telegraph raised the issue, the Treasury also updated its Help to Buy ISA web page, making the clause more prominent.
Experts, who had previously praised the scheme, have now criticised it for simply providing a "perk" to the savers who could already afford a home.
Sky-high deposit requirements remain the greatest barrier to homeownership across the country, the Intermediary Mortgage Lenders Association reports. Halifax claims that the average first time buyer deposit is now a huge £33,000.
The Head of Financial Planning at Hargreaves Lansdown, Danny Cox, adds: "Hundreds of thousands of Help to Buy ISA savers risk finding a last-minute hole in their finances."
HSBC insists that it has trained staff to ensure they provide all of the relevant information when a customer opens an ISA.
A Halifax spokesperson says it would not be appropriate for it to go into details of the scheme rules with customers, as the Treasury has already defined them.
NatWest believes the scheme has helped some of its customers buy a home.
A Treasury spokesperson states: "It has always been the case that money saved in a Help to Buy ISA is for an exchange deposit, with the bonus of up to £3,000 per ISA from the Government going toward the total funds available for the property transaction."
The Managing Director of the National Association of Estate Agents, Mark Hayward, responds to the scandal: "This is quite an extraordinary step from the Government and providers to effectively change the goal posts for first time buyers who have saved in a Help to Buy ISA. Consumers have been putting money aside on the basis that they believed it would be applied to their deposit on a new home. To now clarify that it is not actually available until completion is the perfect example of a painful lack of transparency, and frankly, nothing short of deception.
"First time buyers are already struggling with getting onto the housing ladder, and this much hyped initiative was welcomed at the time as a way of helping them, but in fact could have ended up costing buyers if they have gone ahead with a purchase believing that the bonus counted towards the deposit."
What do you think of the Help to Buy ISA scandal?
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