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Cactus of the Month: Discocactus, Uuebelmania. Succulent of the Month: Kalanchoe.
Of or from Behara, South Madagascar.
From the Greek diskos (disc), referring to the typically circular and flattened shape.
Named for Leopoldo Horst, 21st century Brazilian plant collector.
From the Chinese name for one of the species.
Named for Lucy Dufour, 20th century aquaintance of the French botanist Raymond Hamet.
From the Greek syn (together, with) and sepalum (sepal).
Covered with fine, matted hairs.
Named for Werner Uebelman, Swiss grower and collector of cacti in cacti in Brazil, Uruguay and Paraguay.


text:
Out Alone Into America: The National's American Portrait
Ahmed Ragheb grew up with an idealized vision of America, one very much at odds with the America of 2020. Read how the music of The National helped him form his own American identity.
This is a tough time for America; between the response to the coronavirus pandemic, to the person in the White House, to the deep-seated racism that recent protests have forced many to confront shamefully for the first time, it feels difficult to be a "proud American."
This is true of myself as well. I first moved to the United States for university in 2014, confident that I made the right choice. Since arriving, however, I've been struggling to make up my mind as to how I feel about this country I've come to call home. Since the 2016 election I've found myself swinging between the polar opposites of intense patriotism and historically-informed, nihilistic self-loathing – and I suspect I'm not alone. I was born an American citizen (to an Egyptian-American father and European mother) but grew up in Cairo, Egypt and it was from Cairo, from a distance, that I experienced the United States as I grew older. I experienced it through social media, music, television and film that came to me via the internet and DVDs and CDs purchased during short vacations to the US. I attended an American international school, had American teachers and even developed a surprisingly strong American accent. I learned about George Washington and the cherry tree and the Civil War. I came to think of myself as an American that had simply been born abroad and once I was 18 I'd simply "return home." After arriving, I found myself very much not at "home," though. I immediately chalked it up to a lack of updated cultural references and a poor understanding of things like American sports terminology but now, six years later and in the light of everything that's happened in 2020, I understand it as something else entirely. The America that I had experienced through all forms of media as well as school curriculum was not just romanticized, it was the American myth distilled in its purest form. This is to say that, by virtue of my location, I was unable to balance my virtual experiences with any concrete ones. So, here I am in an America that very much does not feel like "the greatest country on earth," trying to understand how to think of it. I find myself trying to define America just as it is trying to define itself. In this challenge I have found an incredible resource in the very art and media that I felt misled me before. One such artist that has proved invaluable is Matt Berninger of The National.
Matt Berninger will be releasing a solo album this October titled Serpentine Prison and there'll be time to discuss it when it arrives but it's his work as the principal lyricist for The National that I'd like to focus on here.
It's my opinion that, with Berninger at the helm, The National has delivered some of the most poignant and important political and social American commentary of the last 50 years. If one were to look to Bob Dylan's music for an emotional understanding of the 1960s and 1970s (and arguably the '90s as well), then that same individual would be well advised to listen to The National for an understanding of America in the 2000s and 2010s, from 9/11 to Obama and the Great Recession to the 2016 Election. In fact, the period after 9/11 (in which The National began to take off as a band) bears some striking similarities to the period we find ourselves living through at this very moment. As was the case then, Americans are looking around at the world and at ourselves and trying to understand who we are and how well the myths surrounding America hold up in the face of crisis after crisis. It's not going so well (it didn't then either).
Berninger is by no means the first to sing about the socio-political status of America and he's by no means the first to do it well. I will make the claim, however, that he is a master of doing so in an astoundingly casual and synthesized manner. In many ways Berninger leaves behind the role-play that sometimes mires the music of incredible songwriters like Bruce Springsteen, Randy Newman or Paul Simon. His lyrical style, combined with the musical genius of the Dessners and the Devendorfs, gives us something that is manifestly personal and genuine in its delivery. I had always felt that the music of The National fell into two distinct categories: deeply personal songs and deeply political songs. It is only this year that I've come to realize (and to appreciate) that that distinction was misplaced and actually did a disservice to their discography. The narrative voice of Berninger's songs is so inextricably intertwined with the social and political state of the nation – as he understands it – that what we get is essentially not just a portrait of Berninger or his musical manifestation but a portrait of America.
I don't want to put words in the mouth of Matt Berninger or suggest a specific intention to The National's oeuvre but what I discovered in their music was profoundly civic emotionalism (once viewing it from a certain lens) that I'd never heard anywhere else. Again, just to reiterate, this is simply my experience with The National's music and not some hidden agenda or concept I'm claiming to have sussed out.
So, if Berninger's decades-long lyrical image of himself is a decades-long image of America, if he indeed doesn't just sing about America but sings as America, what does that musical portrait look like? For starters, it's contradictory: it's deeply introverted and nervous ("Venom radio and/venom television/I'm afraid of everyone") and garishly confident ("I'm put together beautifully/I'm a perfect piece of ass.../God is on my side"). It's also a servant to the commercialism and materialism that boomed in the early 2000s, prior to the 2008 Financial Crisis ("Traded in my daylight for a career/I'll suck off investors, I'll suck off VCs/I'm losing my posture from time on my knees"). It's paranoid, almost schizophrenic ("I think this place is full of spies/I think they're onto me," "I had a secret meeting in the basement of my brain/It went the dull and wicked ordinary way"). It's hopelessly romantic ("All the very best of us/String ourselves up for love") and then very much not ("Karen, put me in a chair, fuck me and make me a drink"). It's tired of violence it knows it's supposed to glorify ("I gave my heart to the Army/The only sentimental thing I could think of/With cousins and colors and somewhere overseas/But it'll take a better war to kill a college man like me," "We don't bleed when we don't fight"). It's superficial ("No God/They took our fashion week/That's a real bad thing/'Cause we've got scars to cover/Bad things never happen when you're beautiful") and aggressively bored ("Dear, we better get a drink in you before you start to bore us"). The metaphors and language is steeped in American iconography and terminology ("Your independent declaration sounded too much like a prayer," "Picking apples, making pies/Put a little something in our lemonade/And take it with us," "I'm Mr. November," "All I see is black and white and red/...All I see is black and white and blue"). It's desperate to prove itself as exceptional or worthy ("Someday, man, I'm gonna be no different than the other rivers/...Shallow frame and shaky sticks but I know there's a river in me"). It's apocalyptically pessimistic ("Ohio's in a downward spiral/I can't go back there anymore/Since alt-right opium went viral") and cautiously optimistic ("The system only dreams in total darkness"). It's all of these terrible and opposing things; it's as complicated as a human being and as complicated as nation.
Matt Berninger is able to deliver this so well because he doesn't just sing about America but embodies it, riding national waves of fear and anxiety and absorbing them. This month, in anticipation of Berninger's debut solo album, I have been recommending to people I know that they try to work through the entire National discography and pay special attention to the lyrics and how they pertain to our national moment of stress. I recommend that you do the same. The feeling you'll get as America sings to you in first-person is unnerving and unsettling but keep listening because, as Berninger sings, "You're never getting rid of me/You own me/There's nothing you can do/...I think you made a big mistake/...You own me/Lucky you." ▲
The Metamorphosis of Devonté Hynes
Baxter Dury: A Spoken-Word Poet for the 21st Century
A Record Year for Rainfall: Apocalyptic Visions in the Music of The Decemberists

redpajama_set_name: RedPajamaCommonCrawl


text:
Zambia starts mass export of avocados to Europe
Zambia has started the mass export of avocados to Europe with the first consignment of over 37 tons, a senior government official said Friday.
The commencement of export came after the southern African country met the phytosanitary requirements to export the fruit into Europe, said Permanent Secretary in the Ministry of Agriculture Green Mbozi.
The move marks the start of huge market opportunities for Zambia's avocado growers, Mbozi was quoted as saying by state broadcaster Zambia National Broadcasting Corporation.
The agricultural ministry is in the process of finalizing discussions with South African authorities to start exporting avocados to that country, said Kenneth Msiska, director of the Plant Quarantine and Phytosanitary Service.
Orginal Article Link: https://www.africaleader.com/news/272485965/zambia-starts-mass-export-of-avocados-to-europe
Zambia, Angola strengthens bilateral ties
GreenYellow completes the extension of the Ambatolampy solar power plant


text:
Q: Search an array for a certain string, then return a string associated with it Currently I'm trying a personal project using C#, but I am having trouble wording my question properly on Google. For example,
!hello = "Hello"

!bye   = "Goodbye!"

Basically what I want to do is search an ArrayList(?) or some other data type for the keyword/string "!hello" and return the string "Hello". How should I go about this? Thanks.

A: You can use a Dictionary to hold keys and values which then allows you to get values by their key.
Eg:
var words = new Dictionary<string,string>();
words.Add("!hello", "Hello");
words.Add("!bye", "Goodbye!");

var hello = words["!hello"]; // returns Hello

You can also test if the dictionary contains a key by using TryGetValue:
string hello;
if (!words.ContainsKey("!hello", out hello))
{
    // dictionary doesn't contain key
}

hello == "Hello";

A: A Dictionary would do the job.

A Dictionary class is a data structure that represents a collection of keys and values pair of data. The key is identical in a key-value pair and it can have at most one value in the dictionary, but a value can be associated with many different keys.

This class is defined in the System.Collections.Generic namespace,so you should import or using System.Collections.Generic namespace.
Initialize the dictionary :
Dictionary<string, string> dict = new Dictionary<string, string>();
dict.Add("!hello", "Hello");
dict.Add("!bye", "Goodbye!");

Access it using
dict["!hello"]

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Free entertainment by the pool at my all-inclusive resort in Cuba.
All inclusive vacations have a lot of benefits from having everything paid for and taken care of for your whole trip, to all amenities at your hotel being included in the price, to not having to plan anything yourself, and also the ever elusive all inclusive last minute deals when booking your trip, free entertainment, the unlimited drinks and of course the FOOD.
Our Chef at the breakfast buffet attempted to spell my name out in pancake batter.
The food is one of the most important things (aside from the drinks) in my eyes and not only do I think that this is where you can get your moneys worth out of your trip but also I think the food can make or break your trip. There is nothing like a bad meal to ruin an evening/day/week and most times at all-inclusives there aren't many options to go elsewhere.
At the all-inclusives I have stayed at however there have often been a few choices for each meal from a couple of restaurants to the pool bar and even a buffet. If you had a bad meal one night you knew not to go there again however thankfully I've never had much problem.
Having a fancy dress up meal with friends at our all-inclusive in Cuba.
When I travel I also like to try the local food and learn new dishes and recipes and going to an all-inclusive is a great way to do this. Not only do they often feature local dishes but you can also try all of them with out regret of paying for something you might not like because "hey!" you don't need to pay so try it all!
A pig roast in Cuba with Jorge dressed in traditional Cuban clothing.
If you are not one for trying new things and the idea of trying new foods in a foreign destination makes your stomach turn don't worry as must resorts have "american" food or at least "english" food for those picky eaters as well. However I suggest living a little and trying everything new and strange that you can.
Have you ever been on an all-inclusive vacation? What was your favourite thing about it? Did you have any amazing meals?


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ISO 13947 pdf download Metallic powders — Test method for the determination of non-metallic inclusions in metal powders using a powder-forged specimen
The maximum Feret's diameter is used to determine inclusion size.A Feret's diameter is a caliper diameter, asillustrated in Figure 1.
The fragmented nature of some inclusions means that their size determination is somewhat complicated.Theconcept of near-neighbour separation shall be used in determining inclusion size. According to this concept,ifan inclusion is within a certain distance of its neighbouring particles it is considered a member of an inclusioncluster or agglomerate. Detected features within 30 um of one another are considered part of the sameinclusion.The concept is illustrated schematically in Figure 2.
The non-metallic inclusion level of the test specimen (part) is reported as the number of inclusions, per100 mm2, greater than or equal to the predetermined size.
4Significance and use
4.1The non-metallic inclusion level of ferrous powders is an indication of powder cleanliness. In pressed andsintered ferrous powder metallurgy (PM) materials , the extensive porosity present masks the effect of inclusionson mechanical properties. In contrast, the properties of a PM material processed to near pore-free density arestrongly influenced by the composition, size, size distribution, and location of non-metallic inclusions.
4.2The test for non-metallic inclusions in fully dense steel parts is useful as
a characteristic to classify or differentiate one grade of powder or batch of parts from another, anda lot-to-lot quality comparison of powders intended for powder forging.
4.3Asignificant amount of variation in non-metallic inclusion content will occur
if the powder used to form the test specimen (part) does not meet the required quality standards for non-metallic inclusion content, or
processing of the test specimen (part) has been carried out under conditions that do not permit oxidereduction or allow oxidation of the test specimen (part), or both.
4.4The use of the near-neighbour concept offers a more conservative estimate of the inclusions : it wloverestimate rather than underestimate them.
5 Apparatus
5.1 Equipment, for the metallographic preparation of test specimens.
5.2Metallographic microscope, permitting observation and measurement up to a magnification of 100xusing light with a wavelength of 544 nm (green filter), an objective lens with a magnification ranging from 8x to12,5x。and a numerical aperture between0.16 and 0.20.
NOTE Defining the light optics used is important because this determines the features that will be resolved, and alldetecled features are included in the assessment of inclusion size.
6 Test piece
6.1For the evaluation of the non-metallic inclusion content of a powder that is intended for use in powder-forging applications, the powder shall be mixed with an appropriate amount of graphite and lubricant andcompacted to a specified green density. The test method covers repress powder-forged test specimens in whichthere has been minimal lateral flow (<1 %) so the diameter of the green compact shall be such, relative to thediameter of the forging die, that this requirement is met. 6.2 A metallographic specimen shall be removed from the powder-forged test specimen (part), austenitized and quenched. Hardening of the specimen facilitates sample preparation by preventing smearing of soft inclusions and scratching. 6.3 The polished surface of the specimen (part) to be examined shall be not less than 350 mm 2 in area. Multiple sections are permitted in order to obtain the necessary area for measurement on small parts. 6.4 The polished surface shall be parallel to the direction of working; that is, parallel to the direction of travel of the forging tools, and shall represent the core region of the test specimen (part). 7 Procedure 7.1 Preparation of specimens In polishing the specimens, it is highly important that a clean polish be obtained and that the inclusions not be pitted, dragged or obscured. It is therefore recommended that the procedures described in ASTM E3 and ASTM E768 be followed. Automated grinding and polishing procedures are recommended. Examine specimens in the as-polished condition, free of the effects of any prior etching (if used). ISO/TR 14321:1997 shall be followed. 7.2 Measurement of non-metallic inclusion content 7.2.1 Survey at least 350 mm 2 of the surface of the polished specimen at a magnifcation of 100× using light with a wavelength of 544 nm (green flter), an objective lens with a magnifcation ranging from 8× to 12,5× and a numerical aperture between 0,16 and 0,20. 7.2.2 Size the detected inclusions on the basis of near-neighbour separation. Features within 30 µm (0,03 mm) of one another (within 3 mm of one another at 100× magnifcation) are considered to be part of the same inclusion. 7.2.3 For individual features of less than 30 µm in size, three such features within 30 µm of one another are required to constitute an inclusion aggregate, when the near-neighbour separation principle is used.


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Lost 1927 Disney Cartoon Discovered in Norway
10:42 PM PST 12/12/2014 by Aaron Couch
YouTube/Screengrab
"Empty Socks" stars Oswald the Lucky Rabbit
Is this a Christmas miracle?
A 1927 Disney Christmas cartoon thought to be lost was discovered in Norway, Agence France reports.
See more Hollywood's 100 Favorite Films
"Empty Socks," Disney's first Christmas, was found during an inventory of one of the facilities of Norway's National Library. The film starred Oswald the Lucky Rabbit, a precursor to Mickey Mouse. But the discover nearly wasn't made.
"At the beginning, we didn't know it was a lost cinematographic treasure," library archivist Kvale Soerenssen said in a statement. "The film was in two reels which weren't clearly labelled."
"Empty Socks" initially had a 5 minute, 30 seconds runtime, but approximately 30 seconds are missing from the discovered footage. Previously, only about 25 seconds was known to have survived. That footage is held at the Museum of Modern Art in New York.
The newly discovered film once belonged to a private individual. Norway's National Library has digitized a copy to send to Disney.
Aaron Couch
aaron.couch@thr.com AaronCouch


Bellogín Kouki, A, Samar, T, de Vries, A.P, & Said, A. (2014). Challenges on Combining Open Web and Dataset Evaluation Results: The Case of the Contextual Suggestion Track. In Proceedings of European Conference on Information Retrieval (ECIR 2014). Springer.


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