Chain Valley, a $283 million financial technology hub planned in West Hartford, will be home to upwards of 50 companies, along with a research institute and training center, according to the businessman behind the project.
Chinese billionaire Bruno Wu announced the planned hub at a news conference with Gov. Dannel P. Malloy last week, but shared few details about how he planned to invest hundreds of millions of dollars. He provided new information to The Courant in response to criticism of the project from Republican state Senate leader Len Fasano.
"There's a lot of misinformation. It's early stage and information is yet to come," Wu said. "We have the clients, we have the technology, we have the team, so we're going to relocate to Connecticut.
The hub is being planned at UConn's former West Hartford campus by Seven Stars Cloud, an early-stage financial technology — or fintech — company with a corporate headquarters in New York City's financial district.
SSC will be just one of several companies locating its technology and innovation operations in West Hartford, Wu said. They'll each be developing and selling business services around artificial intelligence and blockchain, a tool for building secure, digital ledgers and the accounting technology behind cryptocurrencies like bitcoin.
About 15 of the businesses moving to the hub belong to the same parent company as SSC, called Sun Seven Stars Investment Group. That Chinese conglomerate is also founded and controlled by Wu. He says the hub will also add 10 to 20 startups in the next two years, and 12 to 15 manufacturing companies down the road, starting with three to four by the end of 2018.
Of the 330 jobs SSC has promised to create there over five years, some will be transferred from other locations but about 60 to 70 percent will be new hires, he said.
On Thursday, Fasano questioned SSC's financial health, and the state Department of Economic Development's vetting of the company, which is set to receive a $10 million state loan to renovate its new location.
The publicly traded company brought in $185.9 million in revenue in the first three months of the year for a net loss of about $4 million.
SSC is finishing its transition to fintech from a years-old, stagnant media business, of which Wu was a major shareholder. On Friday, it was trading around $2.20 a share.
The Chain Valley project will have four main units.
A digital financial services division will include its subsidiary BBD Digital Capital Group, which focuses on artificial intelligence-driven financial data services and transactional platforms. That company is targeting clients who bet on the success of energy and commodities markets, like crude oil.
The BBD Digital Capital Group would locate in West Hartford as early as September, according to Wu.
By October, he expects to add a real estate securitization company — a business that pools different assets and sells the securities to other investors. A second division will focus on attracting unicorns — or top performers — in vertical manufacturing, where a company owns its own supply chain.
This is going to prove itself to be probably one of the biggest comeback stories ever in Nasdaq.
These companies will begin their move to the West Hartford hub by September, Wu said. That's when SSC's $5.2 million purchase of the property is expected to close, although it still needs West Hartford's approvals for the proposed development.
The areas of manufacturing will include new-energy vehicles, computer, communication and consumer electronics and household products, as well as commodities like silicon metal and coal, according to Wu.
A third division will focus on platforms for the trading of digital assets. This enterprise will include entities in London, Zurich and Singapore and is scheduled to locate in West Hartford by November.
Wu plans different trading boards for digital assets in the financial, manufacturing, consumer and media industries.
The fourth division, also scheduled for November, will also deal with supply-chain platforms and the linking of global ports and free-trade zones, Wu said.
The hub's layout includes several global supporting units — a digital assets research institute, fintech incubation hub for startup companies, fintech training center and fintech investment fund group. Wu said the incubator will start with 10 to 20 members, and grow from there.
It's a similar layout, Wu said, to Level39, a leading fintech hub in London. That makes sense, considering Level39's founder, Eric Van der Kleij, will now be in charge of one of the units in West Hartford's Chain Valley, SSC said in June.
Van der Kleij's unit will work to establish global standards for issuing, selling and distributing digital assets. It's one component of GenXPlus, a partnership between SSC and Van der Kleij's Centre for Digital Revolution.
In coming years, for example, SSC plans to work with major insurance companies in Hartford toward the "total elimination" of insurance middlemen, saving money for policyholders and increasing profitability for issuers, Wu has said.
The global blockchain market is expected to grow by about 43 percent between 2017 and 2022, resulting in nearly $14 billion in revenue, according to a March report by Netscribes.
Blockchain tech has the potential to prevent fraud, save time and money with efficiency, and improve tracking of everything from digital currency to insurance claims, patient records and product shipments.
The tool also bolsters contracts, eliminating the risk that someone won't follow through on their commitment.
Most people predict a global shift to using blockchain and cryptocurrency to occur in less than 10 years, according to a 2015 survey by the World Economic Forum.
About 58 percent of respondents also thought 10 percent of global GDP would be stored in blockchain technology by 2025.
And 70 percent said they thought a government would collect tax via blockchain for the first time in 2023.


text:
Q: Outlook 2010 and ActiveSync (Z-Push) I would like to sync contacts and calendars with Outlook 2010 using the Z-Push activesync implementation and caldav/carddav/imap.
Does Outlook 2010 actually support ActiveSync or how does it connect with exchange-servers?

A: No version of Outlook supports ActiveSync to your own Exchange Server. Outlook 2013 has ActiveSync support but it is not supported for connecting to your Exchange Server, only "outlook.com".

redpajama_set_name: RedPajamaStackExchange


text:
Sorting sub-works and more generally ARs
http://tickets.musicbrainz.org/browse/MBS-3375 is more than 2 years old. It seems it is stuck because nobody is sure how it should be implemented. I feel many important things are clumsily patched (or not addressed at all) because we lack ordering. I'd like to revive the discussion about this and hopefully not have yet another schema change without it.
Here is my suggestion: add a simple number to ARs which could be used by the AR types which we find relevant. This number would of course be used for ordering.
Why not a string allowing for things like "2.1.5"? Because I am not currently convinced that smart sorting on strings such as this would be the correct way to handle sub-hierarchies.
Lemire, Sebastien-2
Re: Sorting sub-works and more generally ARs
Earlier we have news of attributes to works and now this. Looks like Christmas must have come early :)
As for how to implement this, the simple way would be a numerical attribute in attribute for the Work is a part of work relationship. It might not gracefully handle one making a mistake and entering the same number to two the sub-works though... Also editing mistakes or adding a work in the middle would be a pain in the a**.
The best solution would that as soon as a work has 2 or more parts related to it, that an option appears on the right hand-side to re-order the parts. Clicking on it would bring a small GUI and we could move them similarly to how he we currently move tracks on a tracklist. The actual ordering value could be kept internal to MB and not be editable by hand.
As for sub-hierarchies, I'd be happy with having to treat each sub-hearchy separately. Although it would be nice obvously if you go to the top of the tree, click on the re-order and see the whole tree...
On Tue, Oct 22, 2013 at 8:37 AM, Frederic Da Vitoria <[hidden email]> wrote:
2013/10/22 Lemire, Sebastien <[hidden email]>
Yes, but all these issues would remain if we use a character zone.
Yes, but these are purely UI issues. Unless I have missed something, none of these would impact a schema change. I am more concerned about some wish which would require something more complex than a simple number field.
As for sub-hierarchies, I'd be happy with having to treat each sub-hearchy separately. Although it would be nice obviously if you go to the top of the tree, click on the re-order and see the whole tree...
We seem to agree about sub-hierarchies: if we need a numbering like "2.5", then this means that we should enter 2 part levels, a higher and a lower, and each level should be numbered relatively to it's parent. So that "2.5" would be split into 2 lines: a "2" at the higher level and a "5" at the lower level. It would be the UI's job to coalesce all the parts correctly if the user wishes to see them all at the same time.
Again, I believe numbering could be used for other things than sob-works. Nikki and monxton found other (but similar) uses for this field: medleys and compilations. Both of these would IMO be addressed with a simple number. But can someone think of another use?
tommycrock
In reply to this post by Frederic Da Vitoria
Frederic Da Vitoria wrote
Here is my suggestion: add a simple number to ARs which could be used by
the AR types which we find relevant. This number would of course be used
for ordering.
Unfortunately there's various places that wouldn't achieve what I want. It won't work where the links aren't all to one entity or where there's multiple sets of ordered links to one work. For example, with medleys, if the performance is split over several recordings the numbering wouldn't work. Alternatively, if there are two medleys on one recording again it wouldn't work.
I'd like to see an ordered list of relationships. However, if something like that wouldn't be implemented for several years and the simple numbering could be quickly then it'd be worth doing that as it would cover many cases.
2013/10/23 tommycrock <[hidden email]>
> Here is my suggestion: add a simple number to ARs which could be used by
> the AR types which we find relevant. This number would of course be used
> for ordering.
Unfortunately there's various places that wouldn't achieve what I want. It
won't work where the links aren't all to one entity or where there's
multiple sets of ordered links to one work. For example, with medleys, if
the performance is split over several recordings the numbering wouldn't
work. Alternatively, if there are two medleys on one recording again it
wouldn't work.
Could you explain why it wouldn't work?
I'd like to see an ordered list of relationships. However, if something like
that wouldn't be implemented for several years and the simple numbering
could be quickly then it'd be worth doing that as it would cover many cases.
What could you be waiting for? What is it which could possibly only be done in a long time?
On 23 October 2013 08:53, Frederic Da Vitoria <[hidden email]> wrote:
With the work sub-parts example you have work a linked to parts x, y and z. That works fine with numbered ARs.
a) medley with recordings split into component works:
The ARs are between
recording - work
a - x
b - y
c - z
So there's nothing apart from perhaps some versions of a tracklist to tie them together.
b) two medleys on one recording:
the recording is linked to works p, q and r (medley 1) and x, y and z (medley 2). I guess with some kind of 1.1 numbering system this might be able to be handled, but probably not gracefully and not sure how it would interact with other works linked to the same recording that aren't part of a medley...
It wouldn't necessarily take a long time, I'm just aware that the developers have a very long list of requests and only so much time, so changing the structure of the database is necessarily a long way down the list.
The mechanics I'm thinking of would be a defined relationship between ARs. Something like a table of ordered types (medley, sub-parts, ...), a table that defines that grouping (medley 1, medley 2 in my examples above), and a table that links the grouping to the AR and defines the order. There's probably a more elegant / robust solution but anyway, something that would achieve that kind of thing.
A simple number could more easily be added, but the UI for that would still be tricky to get right.
2013/10/23 Tom Crocker <[hidden email]>
Interesting, I hadn't thought of that: in a Recording-Work AR, the "parent" is the Recording. But that doesn't change anything IMO, simple numbering would still work.
Ah, now I see. But in this case, I believe the recording should be split in p, q, r, x, y and z using the Compilation Relationship, and then the r and z recordings should themselves be ARed using the medley AR. Thus the structure of the data would reflect the structure of the recording.
I hope that we don't need the complexity you are describing, because if this true, then AR ordering is probably still for the far future.
But simple numbering will not tell us that a-x is part of a medley with b-y and c-z and there is no robust way of knowing that based on the data we have. We could probably figure it out in most cases based on the ordering of tracks but that's complex, implicit and can't be guaranteed. We know x has been recorded as part of a medley, but not which the other works were.
symphonick
Maybe we could do work-work parts now & save medleys for later?
/symphonick
In reply to this post by tommycrock
Oh, you mean a b and c are distinct recordings? I thought they were parts of the same recording. That's a completely different issue. We'd need a way to virtually "merge" those recordings and then create medley ARs from the virtual recording to x, y and z. But that would be a 3 entity AR (virtual recording / physical recording / work), something we can't do currently. I can't imagine any numbering scheme which would tell that those recordings are tied together. There is a similar missing virtual recording in classical music, when sometimes a movement is artificially split in several tracks.
Oh, you mean a b and c are distinct recordings?
That's right. The medley has been split into several tracks.
That's why I suggest using a set of ARs (with ordering within that set) as the approach. Simply numbering the ARs only works when the set is already defined by association with one entity.
In reply to this post by symphonick
On 23 October 2013 10:18, symphonick <[hidden email]> wrote:
Yes. That would make sense to me as it's probably much easier to achieve and would cover most cases (even for medleys, etc.) and could be transferred to a new system fairly straightforwardly (I think!)
David Gasaway
On Wed, Oct 23, 2013 at 1:50 AM, Frederic Da Vitoria <[hidden email]> wrote:
I'd like to point out that it works only in one direction. When looking at the work, the numbers would be meaningless, and sorting by these numbers wouldn't make sense. I also assume that you mean that the number would apply only within that specific AR. Surely, we wouldn't be ordering all Recording-Artist ARs globally, mixing performance and production credits, and so on. Let's take a specific example:
Recording A
- Produced by X, Y
- Assistant produced by Z
These are all the very same AR type, but the last has an additional attribute applied. We might want to sort X and Y. But would we also need to sort Z with them? After all, the UI keeps them separate. So, do we say that the ordering only applies when there is more than one AR where the type and attributes (except number) match exactly? What happens when edits change those attributes?
Point is, I'm not sure we can extrapolate from here and say this solution that could work medley could work for ARs in general.
-:-:- David K. Gasaway
-:-:- Email: [hidden email]
On Oct 24, 2013 4:48 AM, "David Gasaway" <[hidden email]> wrote:
> On Wed, Oct 23, 2013 at 1:50 AM, Frederic Da Vitoria <[hidden email]> wrote:
>> Interesting, I hadn't thought of that: in a Recording-Work AR, the "parent" is the Recording. But that doesn't change anything IMO, simple numbering would still work.
> I'd like to point out that it works only in one direction. When looking at the work, the numbers would be meaningless, and sorting by these numbers wouldn't make sense.
That's right, but that's okay.
> I also assume that you mean that the number would apply only within that specific AR.
That's my assumption too, but I would assume we wouldn't allow ordering in most cases. In those we would allow it, the ordering would be regardless of attributes I would think.
> Let's take a specific example:
> Recording A
> - Produced by X, Y
> - Assistant produced by Z
> These are all the very same AR type, but the last has an additional attribute applied. We might want to sort X and Y. But would we also need to sort Z with them? After all, the UI keeps them separate.
What the UI currently does isn't very important. The release UI shows credits inline (sorted by track) or per join string.
PS meant to say to davitof 1.1.1 doesn't need to be (shouldn't be ) a string, just not an integer.
On Wed, Oct 23, 2013 at 11:51 PM, Tom Crocker <[hidden email]> wrote:
What the UI currently does isn't very important.
If I read between the lines, you're saying that the UI would change? If it stays as-is, applying a sort number to all three from my example as a group has no useful outcome. So I'm still in the dark as to what you would consider a group of ARs that needs to be sorted. And know I don't even know what kind of UI you are imagining. :)
The release UI shows credits inline (sorted by track) or per join string.
I had recording view in mind, but release inline view works, too. Sorting wouldn't work in the "credits at bottom" view, as far as I can figure.
In reply to this post by David Gasaway
2013/10/24 David Gasaway <[hidden email]>
I was expecting a very "local" effect. I hadn't thought of attributes but I agree that ordering should only apply to completely identical ARs.
I believe than when an edit changes the attribute of a previously "ordered" AR, the old order value should be cleared. I suggest that when a set of ARs is "ordered", if one of the AR's position has not been set, this AR should be displayed in a special way. This could happen: for example we could know that a work has sub-parts, we know which is the first or which is the last, but we are not sure of the order of some sub-parts.
> On Wed, Oct 23, 2013 at 11:51 PM, Tom Crocker <[hidden email]> wrote:
>> What the UI currently does isn't very important.
> If I read between the lines, you're saying that the UI would change? If it stays as-is, applying a sort number to all three from my example as a group has no useful outcome. So I'm still in the dark as to what you would consider a group of ARs that needs to be sorted. And know I don't even know what kind of UI you are imagining. :)
>> The release UI shows credits inline (sorted by track) or per join string.
> I had recording view in mind, but release inline view works, too. Sorting wouldn't work in the "credits at bottom" view, as far as I can figure.
Given we don't have sorting currently I can't imagine how we would implement it without some sort of UI change. What I was meaning about track credits on releases is we can display the same ARs sorted in different ways - sorry I'm not being very clear! Sorting would have to be subsidiary to any dates. But not other attributes IMO (the sort number would be an attribute I guess).
Groups of ARs that really need sorting (and could be with the kind of structure proposed here):
Work -Work :
Recording -Work :
Performance of (medleys are soon to be attributes here) but for example, one performance could be instrumental, another partial, but they only appear in one order on a recording.
Recording -Recording :
Compilation, DJ mix.
Possibly also samples?
There might be some others where it would be useful but I don't think all should be able to be sorted.
Oh, I also meant to say, given the structure that was put in place to deal with instrument free-text credits I don't think this would be a case of just adding an integer to the link table, because they'll want to have a postgresql way of restricting when it can be used.
Could you explain more?
Given we don't have sorting currently I can't imagine how we would implement it without some sort of UI change. What I was meaning about track credits on releases is we can display the same ARs sorted in different ways - sorry I'm not being very clear!
Sorting would have to be subsidiary to any dates. But not other attributes IMO (the sort number would be an attribute I guess).
I don't understand what you are saying. Could you explain in other words? Or maybe with examples?
Ah, yes: most often sorting should apply for ARs with all attributes identical, but sometimes it would be better if sorting did not take some attributes into account. Should we consider this as a corner case which happens rarely enough that we can just stick to the simple rule "sorting should apply for ARs with all attributes identical" and use comments for the few situations where this rule does not allow to match reality? Or can we assume that solving this complexity will only affect the AR parameters, so that the AR editing UI can remain simple?
There might be some others where it would be useful but I don't think all should be able to be sorted
I agree, most ARs probably don't need to be sortable.

redpajama_set_name: RedPajamaCommonCrawl


text:
Home » Mayor Frank G. Jackson Promotes 24 Firefighters
Mayor Frank G. Jackson Promotes 24 Firefighters
CLEVELAND – Today Mayor Frank G. Jackson promoted 24 firefighters to new supervisory positions in the Division of Fire. Director of Public Safety Michael McGrath, Chief of Fire Angelo Calvillo, City Council Safety Chair Matt Zone and other public safety officials were in attendance. Seventeen firefighters were promoted to lieutenant and eight were promoted to captain.
"These firefighters have proven themselves through their long careers and various achievements," said Mayor Frank G. Jackson. "In their new leadership capacity they will continue to provide quality services to the residents of Cleveland."
View images from today's ceremony and the names and bios of the 24 firefighters.
"I am so proud to welcome this new and diverse group of leaders to the Cleveland Division of Fire," said Chief Angelo Calvillo. "This is a great day for the Cleveland Division of Fire."
In addition to the promotion of several firefighters, the Division of Fire recently graduated 39 firefighters and two additional classes of 20 fire cadets will begin later this year to maintain staff levels and account for the retirement of veteran staff. To learn more about how to join the Cleveland Division of Fire, contact the Cleveland Fire Recruitment Unit at 216.664.6388 or email inquiries to: firejobs@city.cleveland.oh.us
The Division has also reopened its fire station in the Gateway district, added safety equipment, updated its records system and will update its computer aided dispatch system. Mayor Jackson, who announced his 2018 budget enhancements in February, is focused on critical services in area neighborhoods. Services such as police, fire and emergency medical service (EMS) all received significant increases in staff and equipment as a result of the 2016 income tax increase (Issue 32).
About the City of Cleveland
The City of Cleveland is committed to improving quality of life for its residents by strengthening neighborhoods, delivering superior services, embracing diversity and making Cleveland a desirable, safe city in which to live, work, play, and do business. For more information on the City of Cleveland, visit online at www.city.cleveland.oh.us, Twitter at @cityofcleveland or Facebook at www.facebook.com/cityofcleveland.
07.27.2018FirefightersPromotions.pdf


1922 George Walker – American composer, pianist (96 years old); the first African-American to win the Pulitzer Prize for Music (Lilacs, 1996).
1947 Jack Gallagher – American composer and professor at College of Wooster in Wooster, OH (71 years old); has taught composition, orchestration, counterpoint, 20th-century music theory and trumpet at Wooster since 1977.
1958 Magnus Lindberg – Finnish composer and pianist (60 years old); New York Philharmonic's composer-in-residence from 2009 to 2012 and the London Philharmonic's composer-in-residence from the beginning of the 2014/15 season.
08:05:00 00:02:36 Claude Debussy Preludes Book 2: "General Lavine"
12:57:00 00:02:31 John Philip Sousa March "Homeward Bound"
17:54:00 00:03:26 Aaron Copland Simple Gifts from "Appalachian Spring"


At Club phoenix we promote one-on-one personal training that is actually personal. One on one training is your best opportunity to get the specific personalized attention you need to reach your goals. We will select the trainer that understands your needs, fits your personality and your availability. The number of sessions per week will depend on your health, your goals and your availability.
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Hit a plateau? The exercise orientation is not just for beginners. If you are more advanced you can achieve a more balanced workout and continue to see results by learning how to incorporate new exercises and equipment into your strength training routine. Sometimes the smallest change can make the biggest difference!


"Recent (sort of) Arduino IDE updates changed the way you can reference libraries in subdirectories. This SO post should hopefully help you figure it out: https://stackoverflow.com/a/43819733/1940286"
"That I dont know how to solve. lol. I am using visual studio 2017 with visual micro plugin VS - https://www.visualstudio.com/downloads/ visual micro - http://www.visualmicro.com/ once you can compile a arduino project i.e. a blink…"
"I have done this and yet it still comes up with an error now saying "fatal error: c_library_v2/common/mavlink.h: No such file or directory" I am confused to why it still isn't compiling when the path on the code and the library…"
"I use this library now - https://github.com/mavlink/c_library_v2 clone this to your library folder on i.e. "Documents/Arduino/libraries" and I include it like this on my sketch #include <c_library_v2/common/mavlink.h>"
"hi there, I realise this is 3 years late but I was using your code to work on the same project as yours. To interface pixhawk and arduino uno and programme it to arm/disarm and to make it autonomous at one point. I put your code into arduino…"
I graduated university with MEng Digital Communication and Electronics Engineering degree now I work for a prototyping house as an electronic engineer based in London.
I started my UAV during my university-Masters year and decided to continue and explore more about this technology. I believe there is a lot of potential for this tech.


In this guide, you'll learn what Nomad is and how to run one or more instances of a redis server with it.
We have pre-configured a single node Nomad and Consul environment. Using the terminal window built into this tutorial you will be able try out many of Nomad's fantastic features. First we are going to take a look at how you can run a simple job in Nomad.
If you are already familiar with the basics of Nomad, the documentation provides a better reference guide for all available features as well as internals.
This is just a simple introduction to operating jobs with Nomad, why not take a look at the documentation and create your own job files https://www.nomadproject.io/docs/job-specification/index.html. The playground environment has only a single node but is fully featured for you to experiment with.
This tutorial has a fully featured Nomad and Consul environment configured for you to play with. You can execute commands in the terminal window on the right or you can also click on the code examples which have the return symbol ⮐ to automatically execute the snippet in the terminal.
To get started, we are going to use the example file example.nomad which you can see open in the editor window.
In this example job file, we have declared a single task 'redis' which is using the Docker driver to run the task. The primary way you interact with Nomad is with the run command. The run command takes a job file and registers it with Nomad. This is used both to register new jobs and to update existing jobs.
Allocation "8ba85cef" created: node "171a583b", group "cache"
==> Evaluation "26cfc69e" finished with status "complete"
To make the rest of these commands easier, you'll need to create a JOB_ID variable with the value under ID in the output of the last command. Copy and paste the value under ID that looks something like f76eb168.
Verify this by running the following command. You should see your job ID.
To see the logs of a task, we can use the logs command.
The "count" parameter specifies the number of the task groups that should be running under this group. This value must be non-negative and defaults to 1.
We can see that the scheduler detected the change in count and informs us that it will cause 2 new instances to be created. The in-place update that will occur is to push the update job specification to the existing allocation and will not cause any service interruption. We can then run the job with the run command the plan emitted.
Allocation "8ab24eef" created: node "171a583b", group "cache"
Allocation "f6c29874" created: node "171a583b", group "cache"
Allocation "8ba85cef" modified: node "171a583b", group "cache"
==> Evaluation "127a49d0" finished with status "complete"
- Rolling update, next evaluation will be in 10s.
Here we can see the plan reports it will ignore two allocations and do one create/destroy update which stops the old allocation and starts the new allocation because we have changed the version of redis to run.
The reason the plan only reports a single change will occur is because the job file has an update stanza that tells Nomad to perform rolling updates. We are setting the update attribute in our example file to 1, this means that Nomad will update one allocation and wait for it to be marked as healthy before it will update the next allocation.
Allocation "de4e3f7a" created: node "6c027e58", group "cache"
==> Evaluation "02161762" finished with status "complete"
After running, the rolling upgrade can be followed by running nomad status example and watching the deployed count.
We can see that Nomad handled the update in three phases, only updating a single allocation in each phase and waiting for it to be healthy for min_healthy_time of 5 seconds before moving on to the next. The update strategy can be configured, but rolling updates makes it easy to upgrade an application at large scale.
==> Evaluation "ddc4eb7d" finished with status "complete"


text:
The left's Great Lie is a pervasive threat to our culture
mraab January 17, 2020 0 Comments
"The very concept of objective truth is fading out of the world," wrote George Orwell in a 1943 essay, Looking Back on the Spanish War. "Lies will pass into history." A truer thing was never said about the current omnipresence of the Lie.
Of course, everybody lies. That the vast majority of politicians lie, almost as a matter of principle, is common knowledge. But I had not grasped until relatively late that the Lie—in majuscule—had become so pervasive that it could be said to constitute a public if unofficial institution. Orwell said that truth had ceased to exist in 1936, an exaggeration made for emphasis, but there is little doubt that it has practically ceased to exist in the political and cultural world we now inhabit. It may be a tenuous or metaphysical distinction to make, but I have come to feel not only that lies are everywhere in the political and cultural world we live in, but that the Lie has become that world. We now live inside the Lie; it is the very air we breathe, the food that sustains us, the verbal milieu we communicate in, the dreams that disturb our sleep, the tastes and fashions we affect, the thoughts we think in our solitary moments. We are like fish who never consider the water they swim in; to leave that element requires something like an evolutionary lung and an amphibian yearning, features that pertain to only a few. This is our current condition.
The issue became clear to me some years back when I was researching The Big Lie: On Terror, Antisemitism, and Identity, a book five years in the writing. Before 9/11, I was solidly in the camp of the left. I read Chomsky with approval, harbored duly anti-American sentiments, commiserated with the Palestinians, marched in thought with Peace Now, subscribed to the appropriate dailies, and agreed with the political slant taken by our major news networks. The sources I relied on were the editorials of The New York Times, The Washington Post, The Guardian, and The Globe and Mail, the news reports of the BBC, CNN, and the CBC, the pages of The Nation and The New Republic, the popular accounts of American perfidy that crammed the shelves of the major book chains, and, most significantly, the smog of stock conceptions that were "in the air," pervasive but insubstantial as are all airy things.
Writing the book forced me to undertake relentless scrutiny of the values and beliefs I'd accepted as gospel and to realize that I had thoughtlessly succumbed to an all-encompassing lie fostered by the media, the academy, and the political left. Intellectually speaking, I had thought I was pole-vaulting; instead, I was doing the limbo. Almost every statement I'd read about American treachery, Israeli apartheid, the "religion of peace," feminist grievance, global warming, right-wing extremism, the ironhanded Patriarchy, oppression of minorities, and the rest was an outright lie and functioned as aspects of what Quentin Skinner in From Humanism to Hobbes called "the potentially ruinous impact of rhetorical redescription," that is, reframing something that is not the case as emphatically and undeniably the case.
Skinner refers to the insidious operation of the rhetorical figure of paradiastole—the conversion of a vice into a virtue—which would apply to the left's destructive policies and initiatives like those I had once endorsed. But the opposite device accompanies the trope of paradiastole, namely, that which the rhetoricians call meiosis, the reframing of a virtue as a vice. Thus the virtue of conservatism is redescribed as an analogue for the vice of fascism, a twisting of the "rules of… forensic speech." I finally began to understand that what I'd taken for history was nothing but ideology and what I'd thought was truth was an order-of-magnitude lie. And that my political and cultural preceptors were, to a man and a woman, professional liars.
Everything I've learned since I began paying attention has only served to confirm my conviction that we are living in unique times, an era in which lies come so thick and fast it seems like one is dodging bullets. It makes no difference where we turn, the lie is there. And we have credulously absorbed it as indisputable fact.
A few salient examples:
Canvassing the plethora of surveys and reports regarding AGW (Anthropogenic Global Warming), we come across documents like the one emanating from the University of Illinois 2009, a survey claiming that 97.4% of scientists agree that mankind is responsible for global warming. This is an impressive assessment. What we don't know is that the Illinois researchers decided that of the 10,257 respondents, the 10,180 who demurred from the so-called consensus weren't qualified to comment on the issue. Of the remaining 77 scientists whose votes were counted, 75 agreed with the proposition that mankind was causing catastrophic changes in the climate. Since 75 is 97.4% of 77, "overwhelming consensus" was demonstrated once again. The real percentage of concurring scientists in the original survey is less than 1%.
This is only one of a myriad such "studies" exemplifying the customary practice of systemic deception, as catalogued in my Global Warning: Trials of an Unsettled Science. The recent report concerning 11,000 scientists declaring global climate crisis is another, put to the lie by a meticulous examination of the list of signatories. The number of imaginary characters, ordinary people with no knowledge of the issue, professionals from other walks of life having nothing to do with climate, and complete outliers reduces the report to the level of farce, a piece of warming propaganda. Is Mickey Mouse a climate scientist? How about the Advocate for Snake Preservation? Are Sociology and Gynaecology climate disciplines? The sampling makes clear that most of the signatories work in completely unrelated fields.
The Australian bushfire coverage furnishes the most recent instance of a faux study. ABC's misleading satellite image shows one-third of the continent burning—media mendacity at its finest, obviously intended to bolster the left's global warming narrative. The map actually depicts areas that heat up in direct sunlight. There is no doubt about the catastrophic extent of the fires—an area somewhat larger than the state of West Virginia—but bad as this may be, it is nowhere remotely near one-third of the continent. As it turns out, climate change had little or nothing to do with the disaster, but 183 arsonists apparently did.
Similarly, most everything the feminist soviet claims about patriarchal domination, female under-representation, a yawning wage-gap, the calamitous prevalence of sexual assault on college campuses, and endemic male violence is based upon reams of false statistics, unscrupulous surveys, and anecdotal recollections.
Most recently, for example, in the midst of the national crisis in Australia, a feminist activist named Sherele Moody announced at a news conference that men returning from fighting fires were known to abuse their female partners, a claim based on a 2013 study published in the Australian Journal of Emergency Management dealing with the 2009 Black Saturday disaster. The paper is by Debra Parkinson, an Adjunct Research Fellow at Monash University in Melbourne, and is called "The hidden disaster: Violence in the aftermath of natural disaster." Parkinson acknowledges in the article that "no reliable statistics were available to document the effect of the disaster on domestic violence occurrences." Instead, in the complete absence of data, she relies on memories and anecdotes amongst a shockingly small interview group. On the basis of no reliable evidence, the men sacrificing their health and lives in the bushfires were publicly slandered. That is how the feminist methodology works.
Rep. Alexandria Ocasio-Cortez (D-N.Y.) delivers her inaugural address following her swearing-in ceremony at the Renaissance School for Musical Theater and Technology in the Bronx borough of New York on Feb. 16, 2019. (AP Photo/Kevin Hagen)
Other strategies may be employed. One favored technique is what I call "the pounce," that is, to take a previous lying or unsubstantiated report and cite it in a subsequent article as proof of authenticity. This recently happened to controversial pro-MAGA author Mike Cernovich who, according to the New York Post for January 30, 2018, argued that there is no such thing as rape. Not a shred of evidence, not a single source for the factoid is provided. The obloquy is then repeated in the NYP for January 2, 2020 using the earlier article as validation of its pronouncement.
A similar fate befell my wife Janice Fiamengo, creator of the anti-feminist The Fiamengo File video series. The Guardian newspaper stated, without an iota of evidence or backing, that she "promoted a conspiracy theory that the Notre Dame fire was started by Muslims, has tweeted support for white nationalists, and is a contributor to the Council of European Canadians website." The calumny was then picked up by the Huffington Post, citing the uncorroborated Guardian article as evidence. Janice's crimes, we are guessing since no data is given, were tweeting an article by Bruce Bawer, one of our finest conservative writers, and supporting Tommy Robinson, by any true account an honorable and long-suffering British patriot. She is not a contributor to the Council of European Canadians, not that there is anything wrong with the site.
We need not go into the standard practice of the politically-motivated Legacy Press; Donald Trump has done that for us. Nearly all the political news we get is Fake News, disseminated by a media conglomerate that constitutes the propaganda arm of the Democrat Party in the U.S. and the Liberal Party in my own country. The media are proof positive that the political and cultural left has completed its long march through the institutions. It has built a democratic tyranny. As Alexis de Tocqueville wrote in Democracy in America, "Under the absolute government of a single man, despotism, in order to reach the soul, crudely strikes at the body, and the soul, escaping these blows, rises gloriously above it, but in the democratic republics, tyranny does not proceed in this way; it leaves the body alone and goes straight to the soul." Indeed, the leftist microbe has burrowed deep into the soul of the nation, into every nook and cranny of the culture.
This is the blueprint for syndical victory. The left will deploy an armamentarium of outright lies, dodgy statistics, and obscurantist dogma to advance its inflammatory. Of course, when any leftist spokesman is caught in a flagrant lie, the default position is to claim that the lie tells a greater truth. How often have we heard this canard? For the left, the lie has become a vestibule to the truth—its truth.
And its truth encompasses the destruction of genuine liberal democracy and free-market societies across the Western world. This is the millennium project of the left, in tune with the U.N.'s Agenda 21 aiming at one-world governance under the sway of a self-elected elite intent on creating a new World Order predicated on zero economic growth and so-called sustainability, as the Democrat Party's Green New Deal envisages. In the words of Tom DeWeese at the American Policy Center, it is "an assault on our Constitutional rights." It is more than that; it is, in effect, the socialist master plan evolving from Marx to Gramsci to the present. And through the agency of the systematic and all-pervasive Lie, it has already been partially accomplished.
No appeal can be made to the purveyors of the Lie since they are either committed to its diffusion or, in the best if implausible scenario, may not be fully aware that the misinformation they peddle is anything but veridical. As Eric Hoffer pointed out in his indispensable The True Believer: Thoughts On The Nature of Mass Movements, the true believer of our political moment is a fanatic who is unlikely to examine his premises and assumptions. "The true believer is on the march…and is shaping the world in his own image." And he has the power of the entire range of political, cultural and institutional authority behind him.
One is now in the position of the biblical Judge Jephthah of whom John Locke wrote in Two Treatises on Government. Locke's point is that when no appeal is possible to challenge the divine right of kings, that is, to oppose constituted authority, then God must judge—thus, Jephthah's "appeal to heaven"—and one must act out of conscience to fight for and establish the truth. In our terms, we would say that the authority of the media, the academy, and our collusive political masters is irredeemably spurious and corrupt. The "appeal to heaven" is an appeal to conscience and common sense to overthrow the "kings" in our own minds. We need to recognize that these "kings" have built a world of lies so massive and infusorial that we have been unwittingly conscripted into its dominion. We must somehow expose this bogus world and return to the real one, we must be wakeful rather than woke, though I'm afraid the struggle may now be Sisyphean.
Sometimes I feel that evil is a reified force, not just a figure of speech or metaphor for affliction or a word to describe human malevolence, but an existential power that is discernibly afoot in the world. I can only understand evil as something mysterious and unintelligible that may be, as Terry Eagleton writes in On Evil, "uncaused, or its own cause," but that is implacably destructive in causing human misery through the operation of the Lie incarnate. As M. Scott Peck reminds us in People of the Lie, "the only power that Satan has is through human belief in its [Satan's] lies," a belief consistent with lack of empathy, the failure of introspection and the inability to distrust oneself. This leads to the further question of whether evil lives in the human spirit or is a factor in the objective world. As Peck remarks, "Perhaps it will forever be impossible to totally discern exactly where the human Shadow leaves off and the Prince of Darkness begins."
Clearly, the tendency to lie is inherent in the human soul and there are times when a lie may be therapeutic or benevolent, as when we lie to spare someone from embarrassment or personal misery. Ambiguity is part of life. But when the Lie becomes coterminous with the very world in which we have our being—in electoral politics, in education, in the entertainment industry, in the media print and digital, in publishing, in the censoring Big Tech platforms, in mass movements sweeping the planet like feminism and "climate change" and Islamic appeasement and identity politics and renewed socialism and Globalism—and when it lays down the latitude and longitude of our thinking so that there is scarcely any place left to locate our inner coordinates, it forms, as the ancient Gnostics believed, a wholly demonic environment, a false Creation. It is no accident that the devil is called the Father of Lies.
David Solway's latest book is Notes from a Derelict Culture, Black House Publishing, 2019, London. A CD of his original songs, Partial to Cain, appeared in 2019.
Author: David Solway


text:
Q: ValueError: Found input variables with inconsistent numbers of samples: Getting value error when running the code below, I thought it would be due to the iloc code to split the data into x and y, but cant see what im doing wrong:
            if st.checkbox('Select Multiple Columns'):
                new_data = st.multiselect(
                    "Select the target columns. Please note, the target variable should be the last column selected",
                    df.columns)
                df1 = df[new_data]
                st.dataframe(df1)

                # dividing data into X and Y varibles
                x = df1.iloc[:, :-1]
                y = df1.iloc[:-1]

X_train, X_test, y_train, y_test = train_test_split(x, y, test_size=0.3, random_state=seed)

            clf.fit(X_train, y_train)

            y_pred = clf.predict(X_test)
            st.write('Prediction:', y_pred)

Error that I get is the following:
ValueError: Found input variables with inconsistent numbers of samples: [196, 195]
Traceback:
Snippet of the dataset:
1/1/20  X   2020    206457
1/1/20  X   2021    70571
1/1/20  X   2022    46918
1/1/20  X   2023    36492
1/1/20  X   2024    0
1/1/20  X   2025    0
1/1/20  X   2020    286616
1/1/20  X   2021    134276
1/1/20  X   2022    87674
1/1/20  X   2023    240
1/1/20  X   2024    0
1/1/20  X   2025    0

A: Check your codes of the 2 statements:
x = df1.iloc[:, :-1]
y = df1.iloc[:-1]

x and y are slicing on df1 differently. x on the entire rows while y with one row less.  Hence, inconsistent numbers of samples: [196, 195]  ==> 196 for x; 195 for y
Please note that the first parameter of iloc[] is slicing on rows, while the second parameter on columns.
You have x slicing all rows and one column less (without the last column), while y is slicing with one parameter only and is slicing only on row (without the last row) and it takes all columns by without specifying column slicing on the second parameter.


Pacific Pest Control Our Cool Blog Pest Control Blog Get Rid Of Annoying Pests With These Great Tips!
There are professionals who exterminate pests for a living, but their services are expensive. So why not try a couple of tricks yourself first? The article below details a variety of helpful methods of pest control. Continue reading.
To eliminate pest problems indoors, vacuum every rug in your home. By doing this, you will pick up existing bugs, ants and fleas around the house. Put the vacuum bag in a plastic bag and set it in the sun for a day. Then throw it away.
Hairspray can be used to kill bees and other stinging insects. There are chemicals in hairspray that kill insects immediately, but the perfume in the product also keeps other insects away.
Find out what pest treatments are allowed in your area. You will get into trouble if you use a banned chemical, without mentioning the damages you will cause on your surroundings. You should always do some research on pest control methods authorized in your area and not hesitate to contact local authorities if you are not sure what to do.
Never buy a home without a thorough pest inspection first. Certain signs of infestation are easy to recognize, but keep in mind that you have no way of knowing what kind of pest is hiding under the home or in the insulation until you stay in the home for a few days.
When placing brushes around the home, place them at least a foot away from the building itself. Bushes make a great home for many different insects and rodents. If you put the bush close to the house, you will be inviting them in.
Mint helps you battle against a mice problem. Plant mint plants around the foundation of your home. This makes your home less than desirable to mice. If you've got mice, sprinkle some mint leaves near the affected areas. Mice are repelled by mint, but make sure that you use fresh leaves.
Get rid of any trees that have fallen down in your garden. All you have to do is chop up the tree and burn it. You may use it yourself, give it to someone or sell it. In addition, do not forget to take care of the stump. Stumps are large pieces of dead wood that may attract termites.
Have you seen rodents in your home? You need to look at your home's exterior for small openings that animals can squeeze through. Fill these cracks with some scouring pads or place some poison in these passages. In some cases, an odor repellent such as mustard oil will work.
Pests like to live in drains. Clean and maintain the drains at least monthly. You can use liquid drain cleaners or run a snake down the drain. Residuals can accumulate inside a drain and build up mold, providing the pests the perfect place reside.
Use steel wool to plug up mouse holes in your home. When the mice are trying to get through, they will eat them and die. Adding shredded steel wool to wood putty and using this mixture to fill any suspicious holes is effective against rodents.
To ensure that pests do not come near your food, you must properly store your food items. You should use glass or plastic containters with a lid. You especially want to avoid using anything that does not have a perfect seal, such as paper or cardboard.
Use what you've read here to see if you wish to do this yourself or not. So long as you implement the advice you've just learned, you are sure to successfully deal with your pest problem. Once gone, you'll be so glad you learned how to get rid of the pests!


KCAD students can take advantage of food service options at Grand Rapids Community College (GRCC), located one block east of KCAD. GRCC restaurants with breakfast, lunch and dinner options are available.
Students have the option of signing up for a GRCC Raider Card. The student, a parent, or other designated person can load funds onto the card for sole use at GRCC dining facilities.
See Quick Links on left side of this page for restaurants and GRCC Raider Card sign-up form.
GRCC Raider Card: Bring completed form to the Activities & Resource Center (1st floor 17 Fountain St. NW building) or Student Services Office (7th floor 17 Fountain St. NW building).
Please note: this GRCC Raider Card cannot be used for parking services.
The GRCC Raider Card is not required to make purchases at campus dining.


In Child Star Shirley says that after the release of Little Miss Broadway Darryl Zanuck announced that her next picture would be an adaptation of Lady Jane by Mrs. Cecilia Viets Jamison. Published around the turn of the 20th century (1903, as near as I can tell), the novel told the Dickensian tale of an orphan girl in New Orleans of the 1890s. Little Jane and her gravely ill mother, having fallen on hard times, are taken in by a Mme. Jozain, who, seeing the fine clothes in their luggage, calculates that she'll be well compensated for nursing the mother back to health. But the mother dies, leaving the girl in Mme. Jozain's hands to be exploited and abused, her only friend a blue heron.
All ends happily, of course, but we needn't go into it any deeper than that. In trolling around the Internet looking for information on the book — it's apparently out of print, but used copies are widely available — I found this. It's a 1935 edition published by Grosset & Dunlap, a firm that often published movie novelizations and "motion picture editions" of classic books. As you can see, the dust jacket says, "This is the beautiful story from which the 20th Century Fox picture was made". However, Grosset & Dunlap seem to have jumped the gun; Lady Jane was never filmed, with Shirley or anybody else. Could it be that Fox purchased the book as early as 1935, anticipating making a movie, even though Shirley doesn't mention it coming up until three years later?
In any case, nothing ever came of Lady Jane. Other titles were tossed in the hopper, including one suggested casually by U.S. Treasury Secretary Henry Morgenthau over lunch with Shirley and her mother: The Little Diplomat. On Zanuck's orders, The Little Diplomat got as far as a treatment by studio writer Charles Beldon and a first draft by Eddie Moran, then withered on the vine. Another proposal, the 1936 children's novel Susannah of the Mounties by Canadian Muriel Denison, went the distance, as we'll see later. But for now, in the fall of 1938, Fox yet again turned to an old Mary Pickford vehicle. This time more than just the title would be used, and curiously enough, the story had some elements in common with Lady Jane. The result would be the glittering apotheosis of Shirley's career at 20th Century Fox.
Unlike Lady Jane, A Little Princess has never been out of print since it was first published in 1905. It was the work of Frances Hodgson Burnett, who was born in England in 1849 but lived much of her adult life in the U.S., where she became a citizen in 1905, and where she died and was buried in 1924. She began writing short fiction for magazines while still in her teens, later progressing to romantic novels for adults and sentimental books for children. Her books sold well all her life, enabling her to support a transatlantic lifestyle with homes at various times in America, in England and on the Continent. Her adult novels were all popular in their day, but it's for her children's books that she remains best remembered, specifically Little Lord Fauntleroy (1885), The Secret Garden (1911) and A Little Princess.
A Little Princess first appeared in 1888 as a serial in St. Nicholas Magazine under the title Sara Crewe: or, What Happened at Miss Minchin's Boarding School. In 1902, Mrs. Burnett turned the story into a play, A Little Un-fairy Princess, the title later shortened to A Little Princess; in January 1903 the play opened in New York (with "The" replacing "A" in the title). About the same time, Mrs. Burnett set to expanding the original story into a complete novel, and the book (full title: A Little Princess; being the whole story of Sara Crewe now told for the first time) was published in 1905.
In the novel, Sara Crewe is the seven-year-old daughter of a well-to-do British Army captain serving in India. Pampered without being spoiled, Sara is brought by her father to be educated in England, away from the unhealthful Indian climate. He enrolls her in Miss Minchin's Select Seminary for Young Ladies, where the proprietress, Miss Maria Minchin, continues the practice of pampering Sara, albeit more for love of her father's money than from any affection for Sara herself. In fact, Miss Minchin dislikes and resents Sara for her native intelligence, her scholastic aptitude, and her self-possession, which Miss Minchin regards as impertinence.
Sara spends four years at the school, fawned over (insincerely) as Miss Minchin's star pupil. Then, just as Sara turns 11, her father suddenly dies, his health and spirit shattered by a series of financial reverses that have left him, and now his orphaned daughter, penniless with no friend or family to turn to. Miss Minchin's resentment boils over at the thought of the luxuries she has lavished on Sara, expecting to be reimbursed by her father. She confiscates Sara's fine clothes and evicts her from her well-appointed room. Henceforth, Sara will be expected to continue her studies while earning her keep as a scullery maid and all-around drudge, doing chores and running errands at all hours and in all weathers, wearing threadbare, ill-fitting clothes, sleeping in the attic with the rats and the discarded furniture, and taking what nourishment she can from the scraps of food thrown to her — that is, when her "meals" are not withheld for some imagined infraction or other.
Sara endures two years of this shabby abuse with stoic dignity, years in which both she and Miss Minchin show their true colors. In the end, Sara's virtue is rewarded. While her father has indeed been lost, it turns out that her fortune has only been mislaid, and is now returned to her a hundredfold. She sweeps out of Miss Minchin's clutches richer and more a "little princess" than she ever was, while Miss Minchin is left to gnash her teeth and contemplate what will become of her if word of how Sara was treated ever gets around.
Ethel Hill and Walter Ferris's script took major liberties with Mrs. Burnett's story while retaining its basic structure. To spare Shirley having to age from seven to 13, they confined the action to a single year, 1899 to 1900. Capt. Crewe has been ordered from India to Africa to fight in the Boer War, and is reported killed at the siege of Mafeking. However, we soon learn that he was not killed but is only missing in action, and is being cared for in a hospital right there in London, a semi-comatose amnesiac whose identity is a mystery to those who are tending to him. Whether Capt. Crewe is dead or missing, the effect on Sara and on Miss Minchin (Mary Nash, still in villainess mode from Heidi) is the same. The difference is that Sara refuses to believe the reports, and she haunts the very same hospital whenever she can steal away from the school, always searching for her father but never finding him, asking after him but never asking anyone who knows about that mysterious unknown patient. In the end, with a gentle assist from Queen Victoria (Beryl Mercer, serving much as Frank McGlynn's Abe Lincoln did in The Littlest Rebel), Sara is finally reunited with her father. The change is crucial: for this Sara Crewe, the happy ending is not regaining her fortune, but regaining her father.
Hill and Ferris also added a romantic subplot involving Rose (Anita Louise), a teacher at Miss Minchin's, and Geoffrey Hamilton (Richard Greene), the school's riding master (seen here with Sara before the downturn in her fortunes). Geoffrey is the semi-estranged grandson of Lord Wickham (Miles Mander), who lives next door to the school, attended by his Indian servant Ram Dass (Cesar Romero). Miss Minchin takes cruel delight in breaking up Rose and Geoffrey's romance and discharging Rose, thinking it will curry favor with Lord Wickham.
Meanwhile, Ram Dass, crossing the roofs from his attic room to Sara's, has seen the wretched conditions under which she's forced to live. Sara tells him of all the comforts she pretends her cold, dusty garret has. Later, with the approval and connivance of Lord Wickham, Ram Dass sneaks into the room while Sara sleeps and installs all the comforts she has only imagined — down quilts, soft cushions, cases of lovely books, food on the table and a warm fire in the grate. In this way the movie includes one of the charming touches in the book, changing the source of the mysterious largesse by establishing Lord Wickham as the curmudgeon with a heart of gold that has by now become a standard element of Shirley's pictures.
The movie also provides Miss Minchin with a brother Bertie (Arthur Treacher) — "our professor of elocution and dramatics. "Bertie is also a former music hall entertainer, although Miss Minchin is too much of a snob to allow him to admit to it when Sara's father remembers having seen him perform. And this is all the excuse the movie needs to put Sara and Bertie through a couple of quick song-and-dance choruses of the 1882 Albert Chevalier chestnut "The Old Kent Road" — first here in Miss Minchin's parlor (when she's not around, of course), then later at the hospital to entertain the convalescent soldiers.
Indeed they had, but more happily than in Heidi. The Little Princess demonstrates the difference between working to Shirley's strengths and depending on her tricks — never more so than in this sequence, which comes at the picture's two-thirds point. Sara is asleep in her garret; while she sleeps, Ram Dass steals in through the attic window and bedecks her room with comforts and finery — but we won't know that until later because we are in Sara's dream. She dreams she's a princess holding court, with (like all dreams) people from her life taking their roles. Bertie is her court jester, Ram Dass her lord chamberlain (perhaps Sara, even asleep, is half-aware of his presence?), and Miss Minchin is there filing charges against Geoffrey for stealing a kiss from Rose. The scene is spoken in rhymed verse written by Walter Bullock, set to music by Samuel Pokrass ("There, you see, he broke the law! / What I say I saw, I saw!"). Geoffrey is acquitted because the kiss wasn't stolen, it was given freely by Rose ("There, you see! I had a feeling / This was not a case of stealing."), and the accuser is banished from Princess Sara's realm.
There follows a round of entertainment from the court dancers (to a genteel arrangement of "The Old Kent Road"), in which a new prima ballerina (who looks very much like Princess Sara herself) wins the approval of the court.
As the dance ends, Sara awakens to find her room transformed — so completely transformed that at first she thinks she must be still asleep and dreaming.
For Shirley's next outing, it was back to black-and-white, and a follow-through on one of the projects that had been back-burnered in favor of The Little Princess.
We needn't spend much time on Susannah of the Mounties. Muriel Denison's novel, published in 1936, was the first of four she would eventually turn out; the sequels were Susannah of the Yukon, Susannah at Boarding School and Susannah Rides Again. This first book told of a nine-year-old Canadian girl in 1896 sent to live with her uncle when her parents are assigned to a remote corner of the British Empire. The uncle, an officer at a Royal Canadian Mounted Police outpost in the wilds of Saskatchewan, is at first surprised and unwelcoming, but Susannah soon wins his heart, along with those of everyone else on the post. My own copy of the book is still on order; when I've had a chance to look it over, if there's anything more to be said about it, I'll post an update here.
But I suspect there won't be, because once again 20th Century Fox jettisoned everything except the title. The script was credited to Robert Ellis and Helen Logan (story by Fidel La Barba and Walter Ferris), but several other writers put their oars in without credit — never a good sign. Yet again, Shirley played an orphan: Susannah Sheldon, sole survivor of a wagon train massacred by renegade Blackfeet Indians in the 1880s. She is found by Mountie Randolph Scott out on patrol, and more or less adopted by him. From her place on the post she becomes embroiled in tensions between the Canadian Pacific Railroad and the Blackfeet tribe, especially after she befriends the son of a Blackfeet chief sent to the post as a hostage against good behavior. Together Susannah and Little Chief (played by a 13-year-old Blackfeet youth named Martin Good Rider) intervene with his father Big Eagle (Maurice Moscovich) to thwart the warmongering of the villainous Wolf Pelt (Victor Jory) and "show White Man and Indian how to live as brothers." Peace pipe smoked, fade out.
Susannah of the Mounties was directed by Wiliam A. Seiter, one of Shirley's favorites, who had already directed her in Stowaway and Dimples. Some scenes were directed without credit by Walter Lang (Seiter had performed the same fill-in duty on The Little Princess when director Lang left on "medical furlough"). Shirley's next picture would reunite her with Lang. Once again, Shirley and Lang would be working in Technicolor, and the production would be, if anything, even more lavish than The Little Princess. Results, however, would differ sharply. For the first time, a Shirley Temple picture would lose money.
I would have to agree with the critics re: "Susannah and the Mounties". I find that movie a bit of a chore. "The Little Princess", however, is one I really enjoy despite the liberties it takes with the original story.
Am really enjoying this series!
Great post! SUSANNAH is definitely a weak picture, but my daughter was such a Temple fan that we watched that one – and pretty much all of the others – anyway.
Thanks, Silver and Jennifer! I've just received my copy of the Susannah book, and from what I can tell so far, it seems to be a kind of female-Tom-Sawyer-on-the-Canadian-frontier type of story. I'll know better when I've read further, but offhand I'd guess that Mrs. Denison's original story would have made a better vehicle for Shirley than the moth-eaten B-western plot that Fox concocted.


The anxiety has lifted for the most part thanks to resting for the day. We were suppose to head to the coast today. But nobody felt like doing it. Allergies are hitting everyone here at home very hard. That coupled with my anxiety really made today extremely uncomfortable. A quiet day without a media barrage of any type, no reading, chatting, music, or television, helped me deal with all of it.
Going to spend the night working on an outline for a potential project I have running around in my brain. Going to try to get it on paper. It's a step forward, a small one, but I'll take it. I always seem to have a post convention drop in my creativity and motivation. Only today felt like a particularly bad meltdown. Hoping that I can do something to salvage it and point myself to a more productive path.
I think I know what's bothering me. But I don't think I'm going to write about it just yet. I need to come to terms with it emotionally before I do anything like that. I doubt anyone here would really care. But just the same I want to wait.
As did I. Thank you my dear. Stay strong, I'm here if you need to talk to someone.


In 2016 I created a concept for a book titled Helsinki – People Make the City, which I also photographed. The book was first published in 2016 by Cozy Publishing and it is full of stories from the capital's creative makers and doers – the people who make the city. Written in English, it is a representation of the Nordic way of life intended for those visiting the city or wanting to discover and experience Helsinki on a whole new level. The third – and revised – edition was published in 2017.
"A MUST FOR THOSE VISITING AND LIVING IN HELSINKI."
Explore the city with local residents who share a perfect day spent in their neighborhood. Discover the Nordic way of life and explore the best of local design, food and art. Then take a piece of the city with you and devour the flavors by trying the secret recipes back home.


text:
Sawndip – logograficzny system pisma używany w przeszłości do zapisywania języka zhuang w południowych Chinach (region autonomiczny Guangxi). Nazwa w języku zhuang znaczy "surowe znaki". W języku chińskim określane są jako Gǔ Zhuàngzì 古壮字 (stare znaki zhuang) lub Fāngkuài Zhuàngzì 方块壮字 (kwadratowe pismo zhuang). Najstarszy zachowany tekst to stela z epoki Tang (VII w.). Niektóre znaki pokrywają się z chińskimi, inne zaś zostały stworzone na wzór chińskich. W roku 1957 opracowano nowy system pisma dla języka zhuang, oparty na alfabecie łacińskim, używany od tej pory jako pismo oficjalne. Pomimo to, w roku 1989 wydano słownik znaków zhuang Sawndip Sawdenj (chiń.  古壮字字典 Gǔ Zhuàngzì Zìdiǎn), zawierający znaki używane w manuskryptach.

Niektóre znaki sawndip, zwłaszcza toponimy regionu Guangxi, zostały zaadaptowane również do języka chińskiego, i z tego względu są ujęte w słownikach chińskich i włączone jako ideogramy chińskie na listę Unicode, np.  岜 bya, "góra" czy 崬 ndoeng, "las".

Przypisy

Linki zewnętrzne
 Słownik Sawndip Sawdenj w wersji on-line
 Tablice znaków azjatyckich: Sawndip
  (chiń.)

Kultura w Chinach
Pismo chińskie
Języki tajskie

redpajama_set_name: RedPajamaWikipedia


This is what I eat a lot of while I'm in Puglia – una pepata di cozze. Sometimes spelled impepata or 'mpepata – "peppered" mussels, I think an alternative translation is steamed mussels, prepared with and garlic, and yes, pepper.
Quick and easy, only a few ingredients and one pot are needed to make this meal, and very little prep aside from the cleaning and soaking of the mussels. It can also be cheap since mussels are only a few euro for a kilo here in Italy. I've done this dish back in Milan as well, though without the salty sea air the experience does wane a bit. I love eating a pepata di cozze on the beach at lunch.
Prepare the mussels if they haven't been cleaned – soak them, scrub them well and remove the beard (step-by-step directions on cleaning mussels) and rinse them.
Get a large, deep cooking pot you have a lid for (glass is best so you can see in), and heat several tablespoons of olive oil in the bottom of the pan. Add the garlic cloves and sauté until they start to brown.
At this point, you can also add in a glass of white wine or the tomatoes if desired, and heat that back up to a fast simmer before the next step.
Add the drained mussels to the pot, and close the lid on top. In 4-5 minutes all the mussels should have opened – if not, turn up the heat a bit and put the lid back on for a few more minutes. Depending on how many mussels / size of pot / etc it shouldn't take more than 10 minutes.
Take the pot off the heat (and turn off), and add the chopped up parsley and ground pepper. Discard any unopened mussels.
Serve in soup bowls and toast pieces of bread to serve at the bottom of the bowl or on the side.
The aftermath of pepata di cozze.
Zuppa di cozze is one of my favorite dishes in Italy and I am not a big fan of mussels! The only other time I eat mussels is when prepared by my sister-in-law. Just like pepata but without the pepper. I would love to try this dish and will keep an eye out for it on our next trip to Italy.
This is truly a great dish. Although I don't eat mussels, my husband loves them. We lived in Tirrenia for 18 months a number of years ago. When I was recently looking at blogs for inspiration to begin my, I was immediately drawn to your site. The food, photographs, and stories are wonderful. Ciao, Bella!
@Bonnie – I never used to be a big fan of mussels, either, but I love it!
@Charlie – thanks for stopping by, welcome!
Sounds delicious, love Italian cuisine.


So unless you live under a rock in a cave beneath the ocean, you're aware that the Big Four did some shows together this past June; at the time, I suggested that it would be cool if they all came out and jammed together, and then they did all come out and jam together (video above courtesy Metal Injection), and it wasn't really that cool. 'Cause when I made that suggestion, I guess I forgot that this was all the Big Four bands now, not the Big Four bands in 1990.
Why didn't you play in the Big Four jam on "Am I Evil" at the end?
There's a damn good reason. It isn't too long an explanation. [Dave] Mustaine came to me that day and James [Hetfield] came to me that day saying, "Hey, it would be really cool if you played." I knew Jeff [Hanneman] wouldn't do it, and I knew Tom wouldn't do it. And I also knew after we played that neither one of them would edit our video that was going to cinemas in a couple hours, so I told James and Mustaine both, "Listen, man. I've gotta edit our video before I can even think about playing with you guys." So the entire time of the set change between Slayer and Metallica, I was editing that video. I came running to the tuning room after I got done picking the songs, and they were already onstage.
And to make it an even better story, I found out at 1 a.m. the night prior, so I really had no chance to work on that stuff or anything. So I wanted to; it just couldn't happen. I've got a lot of flack for that but yeah, that's the story.
Luckily for King, and those of us who imbibe enough alcohol to still find this whole concept appealing, he'll probably get another shot at doing that jam when the Big Four inevitably tour the U.S. In the meantime, Metal Injection has the entire Big Four show online, in case you still haven't seen it; if you like fancy packaging and stuff, a DVD of the event comes out in November.


Add AOL to the growing list of companies scooped up by the brewing battle over digital advertising.
Consumers watched 11.3 billion online video ads last month, up from 7.1 billion ads viewed in December 2011, according to comScore.
LinkedIn is rolling out global video advertising, the professional social network announced Tuesday.
Are Your Online Video Ads Driving Actual Offline Purchases?


I>TELE, Canal + information channel mandated us to participate in a reflection of a new identity for the design's jingles. Our mission was to develop a graphic universe declinable and recognizable. In 2011, Machine Molle won CLUB DES DA award.


An affordable entry fee has never and will never cover the cost of putting on a quality racing event.
Find me a race director, who has found differently and I'll print his or her secret in this very space. I know there are people who want to know that magic formula.
One such person is Fred Sommer, president of the Central Florida Triathletes and the wizard behind the past two affordable Great Clermont Triathlons.
Sommer, 31, a Clermont resident, found out what happens when a major sponsor pulls out after an event has been budgeted and promoted.
Sommer's October event, although a rave success in triathlon circles, left the account $10,000 in the red. Part of that loss was a $1,400 carryover from the inaugural outing. Before the starting gun even sounded, Sommer knew they were in trouble.
Offering a $5,000 prize purse, even though a sponsor that committed to kick in $8,000 pulled out, was not going to balance the books, which were originally budgeted at $30,000. The $1,000 he received from both the co- sponsoring Orlando Sentinel and Bob Wade Ford barely covered the event's insurance. The entry fees of the 664 participants registered in the three events helped some, but it was like trying to cover a third degree burn with a adhesive bandage.
Even though registration and the entry fees went up from the previous year, the increase didn't cover expanding the GCT from one sprint triathlon to three of varied lengths spread over two days. Certainly not if all deserving participants were to be rewarded for their feats. Sommer said $6,000 was spent on specialty trophies and mugs.
"Most people have no idea what goes into running one of these events, the hidden costs and expenses for putting in the right touches," Sommer said. "There are bathing caps and T-shirts, and a lot of other expenses. We hope to make some back through merchandising sales and bike rack rentals. We built our own bike racks (another cost) and plan to let other triathlons rent them."
The first year the GCT's budget was $10,000 for one event. The organizers carried it off without a sponsor, using the $20 to $25 entry fees. The race, which drew participants from 90 Florida cities and was immediately given first-class status by those who attended, offered no prize purse and T-shirts and mugs were handed out to the 380 people as rewards.
It was also one of the first triathlons in Central Florida before a crush of immitators and bandwagon promoters jumped into the act. Triathlons are going through what has happened to road racing. Every charity on earth thinks it can raise money by approaching people in running shoes. A lot of people think they can put on a quality race.
To help keep the GCT afloat, Sommer finds himself organizing another affair. He's behind a barbecue and drawing to be held at Bob Wade Ford on Dec. 14. The dealership and triathlon are putting up a 1986 Ford Ranger door prize. Tickets are $25 each and those purchasing tickets for dinner will be eligible for the door prize. Sommer estimates he needs 700 dinner tickets to be sold to cover the cost of the vehicle and put the GTC in the black for next year.
"So far I've received a lot of enthusiasm but not a lot of ticket stubs," Sommer said. "I'll probably be spending a lot of time on the phone the last week selling tickets myself."
Tickets are available at the Clermont Chamber of Commerce and NCNB Bank. Sommer may be reached at 394-6033.
Triathletes and runners can look at this situation from two directions. Yes, they paid the entry fee and took home their T-shirts and don't owe the people who put on this premier event anything. Or they can say since it is such a good event and they want to keep it around, they can go to the dinner and think of the second contribution as having paid an original entry fee on the installment plan. Remember, $50 today is nothing for a triathlon entry fee, the participants know what I'm talking about.
The situation has taught Sommer a lot about running triathlons. Besides wanting to go into next year's with a clean slate, he's started working on it much earlier than the last two.
Next year the long course will be renamed the Florida Challenge, to give it more universal appeal to sponsors, and it will be held in November so as not to compete with other triathlons. The timing will give triathletes some time to recharge the batteries after the heavy early fall circuit. The short course event, which will retain the Great Clermont Triathlon name, and perhaps the accompanying Iron Kids outing, will still be held in October.
"We know why we lost money so we'll be doing it again with much better controls," Sommer admitted. "What we need now is more people to get involved in the running of operations."
And people with magic solutions will also be welcome.


text:
Q: Avoiding Duplicate form submission in Asp.net MVC by clicking submit twice I am rendering a form in Asp.net MVC with a submit button. The page redirects after successful record addition into the database. Following is the code :-
[HttpPost]
public ActionResult Create(BrandPicView brandPic)
{
    if (ModelState.IsValid)
    {
        if (!String.IsNullOrEmpty(brandPic.Picture.PictureUrl))
        {
            Picture picture = new Picture();
            picture.PictureUrl = brandPic.Picture.PictureUrl;
            db.Pictures.Add(picture);
            brandPic.Brand.PictureId = picture.Id;
        }
        db.Brands.Add(brandPic.Brand);
        db.SaveChanges();
        return RedirectToAction("Index");
    }
    return View();
}

But, while testing, I saw that if the form is clicked again and again, the multiple entries are submitted and saved into the database.
How can i make sure that if the form has been submitted once to the server, then no duplicates are submitted.

A: I don't think this is quite a duplicate of the answer referenced in the comment, since the link is for spring MVC, and this question is for .NET MVC.
I actually spent a few hours on this a while back, and came up with the following. This javascript hooks nicely with the unobtrusive jquery validation, and you can apply it to any form that has <input type="submit". Note that it uses jquery 1.7's on function:
$(document).on('invalid-form.validate', 'form', function () {
    var button = $(this).find(':submit');
    setTimeout(function () {
        button.removeAttr('disabled');
    }, 1);
});
$(document).on('submit', 'form', function () {
    var button = $(this).find(':submit');
    setTimeout(function () {
        button.attr('disabled', 'disabled');
    }, 0);
});

The setTimeouts are needed. Otherwise, you could end up with a button that is disabled after clicked even when client-side validation fails. We have this in a global javascript file so that it is automatically applied to all of our forms.
Update 16 Nov 2020 by @seagull :
Replaced selector input[type="submit"] with :submit so it will work with <button type="submit" /> as well

A: Disable the button on Submit clicked. This can be done using JQuery/Java Script.
Look at this example on how to do this.

A: You can use this one. It includes unobtrusive jQuery validation.
$(document).on('submit', 'form', function () {
    var buttons = $(this).find('[type="submit"]');
    if ($(this).valid()) {
        buttons.each(function (btn) {
            $(buttons[btn]).prop('disabled', true);
        });
    } else {
        buttons.each(function (btn) {
            $(buttons[btn]).prop('disabled', false);
        });
    } });

For jQuery validation please incllude
~/Scripts/jquery.validate.min.js
~/Scripts/jquery.validate.unobtrusive.min.js

A: The solution for mvc applications with mvc client side validation should be:
$('form').submit(function () {
    if ($(this).valid()) {
        $(':submit', this).attr('disabled', 'disabled');
    }
});

A: You can use ajax.BeginForm insted of html.BeginForm to achieve this, if you use OnSuccess insted of OnBegin you can be sure that your method execute successful and after that your button turn to deactivate,with ajax you stay
in current view and you can update your current view instead of redirection
@using (Ajax.BeginForm(
new AjaxOptions
{
    HttpMethod = "post",
    InsertionMode = InsertionMode.Replace,
    UpdateTargetId = "dive",
    OnBegin="deactive"
}))
{
//body of your form same as Html.BeginForm
<input type="submit" id="Submit" value="Submit" />
}

and use this jquery in your form:
<script type="text/javascript" language="javascript"> function deactive() { $("#Submit").attr("disabled", true); }</script>

be careful for using ajax you have to call this scrip in the end of your page
<script src="~/Scripts/jquery.unobtrusive-ajax.js"></script>

A: Disabling the button is fine via JavaScript but what if the user has it disabled or they bypass it? If you use client side security then back it up with server side. I would use the PRG pattern here.

A: window.onload = function () {
            $("#formId").submit(function() {// prevent the submit button to be pressed twice
                $(this).find('#submitBtnId').attr('disabled', true);
                $(this).find('#submitBtnId').text('Sending, please wait');
            });
        }


Media giant offers $102 million in cash for online gaming utility company; makes it part of MTV Networks.
The 18- to 35-year-old male demographic has been a highly coveted market segment for a while now, and when corporations find a business that caters to that crowd successfully, they're willing to pay for it.
Viacom Networks is the latest multinational to dish out big bucks to reach the youth market, today announcing it has reached an agreement with Xfire Inc. to acquire the gaming utility company for $102 million in cash. Viacom will make Xfire part of its MTV Networks, where it hopes to increase its advertising revenues by leveraging the parent company's marketing channels and global penetration.
Viacom president and CEO Tom Freston called it a "terrific deal" for his company. "Xfire is far and away the leading PC gaming communications and community platform, has outstanding management, and is a perfect fit with our growing digital businesses at MTV Networks," Feston said. "It's a bull's eye against our young audiences, and meets our strict financial targets."
Xfire offers gamers a suite of tools to complement their online gaming experience, from server browsing and file downloading to in-game messaging, voice chat, and stat tracking. Earlier this year, the company settled a lawsuit brought against it by Yahoo. Yahoo alleged that Xfire's in-game chat program infringed on patents it held from its own instant-messenger service. Other MTV Networks properties include GameTrailers.com, Comedy Central's MotherLoad, and Neopets.


text:
Nonprofit provides relief for Lowcountry artists out of work during pandemic
Dan Hunt
dhunt@blufftontoday.com
Those who produce art for a living are among many Americans dealing with job uncertainty during the coronavirus pandemic.
Recognizing the problem, Bluffton artist Amiri Farris and other established artists in the region worked quickly last month to establish the nonprofit relief group SLAY, which stands for Support Lowcountry Artists Y'all.
SLAY collects contributions from donors, then reviews applications submitted by artists who have fallen on hard times and divvies out contributions up to $500.
Executive director Heather Bruemmer said right now the organization is providing short-term, emergency relief funds for artists in the coastal counties of South Carolina and Georgia, but SLAY could expand its efforts as it grows.
"Our initial concern was getting organized and raising funds quickly for sort of small, short-term, immediate needs," Bruemmer said. "The CARES Act and checks like that are coming, but meanwhile a lot of artists have already been out of work for a month. And unlike wage earners, artists tend to outweigh up front and earn their money back when work is sold."
Bruemmer said many artists rely on spring festivals for a significant portion of their income, but those festivals have largely been canceled.
SLAY is accepting applications from artists across the spectrum, including painters, musicians and photographers just to name a few.
"We're being very broad with it. We're here to help people, not make judgments about whose art is better than whose. If you need help, we want to help you. We're all in this together," Bruemmer said. "We're hoping that there are still some folks who are in decent shape that are willing to donate to folks who do so much to make this a great place to live and help them out in a tight spot."
Those interested in donating can do so at SLAYart.org.
"For people that still haven't had their income that interrupted yet, and I know that's a dwindling pool, part of the CARES Act included making big changes to charitable givings for this year. So if you're somebody that gives anyway, this is a great time to do it," Bruemmer said.
"Don't hesitate because of all the stuff going on. Because they really are giving you some great tax breaks this time around. Up to 100 percent of your [adjusted gross income] is deductible now and even if you don't itemize, you can claim your charitable deductions up to $300.
The website is also a resource for art fans and families looking for entertainment. It features virtual art galleries and instructional videos from artists. Bruemmer said one example is lessons on how to make home movies with your smartphone.
"We're hoping that by providing content that people can use, they'll value the artists maybe in a different way than they did before this virus and continue to support the organization so that we can provide the relief that's ongoing," Bruemmer said.


The author concludes his reading from Book 2 Transitioning.
Welcome back as I continue my journey in book 2 – Transitioning Part 6.
Welcome back as I continue my journey in book 2 – Transitioning Part 5.
Announcing the release of my newest book, Volume 6 of the Into My Life Unexpected series, Learning to Live Again, 2018 – With a very special, limited time, offer.
Part 11 – Thank you for joining me once again as we conclude Book 1 "Learning to Love Again" of my Into My Life Unexpected book series.
Listen to Author, SL Kaufman, explain the origins of the series!


Ecological Forest Management Handbook. Larocque, G.R. (ed.). 2016. CRC Press. 604 pp. ISBN 9781482247855.
Featuring contributions from experts on the three main forest types—boreal, temperate, and tropical—this book presents in-depth coverage of important issues in ecological forest management and includes case studies addressing ecological and socioeconomic issues. It illustrates how ecological forest management is a complex process that requires broad ecological knowledge while giving readers a deeper understanding of basic principles and applications.
This book illustrates the relation between basic forest management concepts, forest dynamics models and ecological indicators. It also includes a section on case studies that address ecological and socioeconomic issues.
Forests are valued not only for their economic potential, but also for their biodiversity, the ecological services they provide, and the recreational, cultural, and spiritual opportunities they offer. The authors of this book show how ecological knowledge is required to manage boreal, temperate and tropical forests efficiently and sustainably.


text:
\section*{Appendix}
In this section we will list the all-orders expressions for the coproducts and antipodes. The leading order of these expressions was discussed in the main text.

For the coproducts we have
\begin{align}
\Delta (k_m) =&  \mathbbm1 \otimes k_m  + k_m \otimes \Pi_+^{m}
+ \frac{i(m-1)}{\sqrt{2}\kappa} k_0 \otimes  \Pi_+^{-1} S_{1+m,1} \nonumber\\
&- \frac{i}{\sqrt{2}\kappa} k_1 \otimes \left(\frac{m+1}{2}S_{m 1} + \frac{m-1}{2}S_{0,m+1}\right)
- \frac{i}{\sqrt{2}\kappa} \bar k_1 \otimes \left(\frac{m+1}{2}A_{m 1} - \frac{m-1}{2}A_{0, m+1}\right)  \nonumber\\
& - \frac{m-1}{(\sqrt{2}\kappa)^2}  \left(  k_1 \otimes \Pi_+^{-1} S_{01} S_{1,m+1} + \bar k_1 \otimes  \Pi_+^{-1}A_{01} S_{1+m,1}  \right) \nonumber \\
& + \sum_{n=1}^{\infty}  \left(\frac{-i}{\sqrt{2}\kappa}\right)^n{n+m-2\choose n} (k_{m+n} \otimes f_n^{}  \Pi_+^{m}+ \bar k_{m+n} \otimes \bar f_n^{}  \Pi_+^{m} )
\end{align}
and
\begin{align}
\Delta (\bar k_m) = &  \mathbbm1 \otimes \bar k_m+\bar k_m \otimes \Pi_+^{m}
+  \frac{i(m-1)}{\sqrt{2}\kappa}k_0 \otimes  \Pi_+^{-1} A_{1+m,1}\nonumber  \\
&- \frac{i}{\sqrt{2}\kappa} k_1 \otimes \left(\frac{m+1}{2}A_{m 1} + \frac{m-1}{2}A_{m+1,0}\right)
- \frac{i}{\sqrt{2}\kappa} \bar k_1 \otimes \left(\frac{m+1}{2}S_{m 1} - \frac{m-1}{2}S_{m+1, 0}\right) \nonumber \\
&  - \frac{m-1}{(\sqrt{2}\kappa)^2}  \left(  k_1 \otimes  \Pi_+^{-1} S_{01} A_{1,m+1} +\bar k_1 \otimes  \Pi_+^{-1} A_{01} A_{1+m,1}  \right) \nonumber \\
& + \sum_{n=1}^{\infty}  \left(\frac{-i}{\sqrt{2}\kappa}\right)^n{n+m-2\choose n} (k_{m+n} \otimes g_n^{} \Pi_+^{m}+ \bar k_{m+n} \otimes \bar g_n^{}  \Pi_+^{m} ),
\end{align}
where the elements $f_n, , g_n, \bar f_n, \bar g_n$ are defined by the following recurrent relations
\begin{align}
f_1^{} =\bar g_1&= S_{01}, \quad g_1=\bar f_1^{} =  A_{01}\,, \\
f_{n+1}^{} & = f_n^{} S_{01} - \bar f_n^{} A_{01}\,, \quad
\bar f_{n+1}^{}  = f_n^{} A_{01} +\bar f_n^{} S_{01}\,,\\
g_{n+1}^{} & = g_n^{} S_{01}  -\bar g_n^{} A_{01})\,, \quad
\bar g_{n+1}^{}  = g_n^{} A_{01} +\bar g_n^{} S_{01}\, .
\end{align}
 Here the usual  binomial notation ${n+m-2\choose n}=\frac{(n+m-2)(n+m-1)\ldots (m-1)}{n!}$ is in use and the infinite sums in the equations  (34), (35) become finite whenever $m\leq 1$.

In the supertranslation sector we get
\begin{align}
\Delta ( A_{pq}) =  \mathbbm1 \otimes A_{pq} + A_{pq} \otimes \Pi_+^{(p+q-1)}  \nonumber \\
 + \sum_{n = 1}^{\infty} \frac{1}{n!}\sum_{r,s}^{n \geq r+s >0}  \left(\frac{i}{\sqrt{2}\kappa}\right)^{r+s}\left(A_{p+r, q+s} \otimes g_{rs}^{(pq)} \Pi_+^{(p+q-1)}  + S_{p+r, q+s} \otimes f_{rs}^{(pq)}\Pi_+^{(p+q-1)}   \right)
\end{align}
and
\begin{align}
\Delta (S_{pq}) =  \mathbbm1 \otimes S_{pq} + S_{pq} \otimes \Pi_+^{(p+q-1)}   \nonumber \\
 + \sum_{n = 1}^{\infty} \frac{1}{n!} \sum_{r,s}^{n \geq r+s >0}  \left(\frac{i}{\sqrt{2}\kappa}\right)^{r+s}\left(A_{p+r, q+s} \otimes h_{rs}^{(pq)} \Pi_+^{(p+q-1)}  + S_{p+r, q+s} \otimes j_{rs}^{(pq)}\Pi_+^{(p+q-1)}   \right),
\end{align}
where we abbreviate
\begin{align}
g_{10}^{(pq)} =  (1-p)S_{01}, \quad g_{01}^{(pq)} =  (1-q) S_{01} ,\\
f_{10}^{(pq)} =  (1-p)A_{01}, \quad f_{01}^{(pq)} = (1-q)A_{01} ,\\
g_{r+1, s}^{(pq)} =  (1-(p+r))(g_{rs}^{(pq)} S_{01} + f_{rs}^{(pq)} A_{01}) ,\\
g_{r, s+1}^{(pq)} = (1-(q+s))(g_{rs}^{(pq)} S_{01} - f_{rs}^{(pq)} A_{01}) ,\\
f_{r+1, s}^{(pq)} =  (1-(p+r))(g_{rs}^{(pq)} A_{01} + f_{rs}^{(pq)} S_{01}) ,\\
f_{r, s+1}^{(pq)} =  (1-(q+s))(g_{rs}^{(pq)} A_{01}+ f_{rs}^{(pq)} S_{01}) ,
\end{align}
and
\begin{align}
j_{10}^{(pq)} = S_{01}, \quad j_{01}^{(pq)} = (1-q) S_{01} ,\\
h_{10}^{(pq)} =  (1-p)A_{01}, \quad h_{01}^{(pq)} = (1-q)A_{01} ,\\
j_{r+1, s}^{(pq)} = (1-(p+r))(j_{rs}^{(pq)} S_{01} + h_{rs}^{(pq)} A_{01}) ,\\
j_{r, s+1}^{(pq)} = (1-(q+s))(j_{rs}^{(pq)} S_{01} + h_{rs}^{(pq)} A_{01}) ,\\
h_{r+1, s}^{(pq)} = (1-(p+r))(j_{rs}^{(pq)} A_{01} + h_{rs}^{(pq)} S_{01}) ,\\
h_{r, s+1}^{(pq)} = (1-(q+s))(-j_{rs}^{(pq)} A_{01}+ h_{rs}^{(pq)} S_{01}).
\end{align}
Let us note that for the important Poincar\'{e} subalgebra these results coincide with those found in \cite{Borowiec:2014aqa}.
One can also notice that the first lines in the formulas (34), (35), (42), (43) represent the  coproduct  deformed by the purely Jordanian twist $\mathcal{J}=\exp\left( - k_0 \otimes \sum_{j=0}^{\infty} \frac{1}{j+1} \left(\frac{-i S_{11}}{\sqrt{2}\kappa}\right)^{j+1}\right)$ while the remaining lines come from the twist extension (c.f. (\ref{TwiEl})).
 \newline
For the antipodes it is in general only possible to write down implicit formulas like
\begin{align}
S ( A_{pq}) =&- A_{pq}  S(\Pi_+^{ -(1-(p+q))})  \nonumber \\
& - \sum_{n = 1}^{\infty} \sum_{r,s}^{n \geq r+s >0} \frac{1}{n!} \left(A_{p+r, q+s}  S(g_{rs}^{(pq)}) S(\Pi_+^{ -(1-(p+q))}) + S_{p+r, q+s} S(f_{rs}^{(pq)}) S(\Pi_+^{ -(1-(p+q))})  \right), \\
S ( S_{pq}) =&- S_{pq}  S(\Pi_+^{- (1-(p+q))})  \nonumber \\
& - \sum_{n = 1}^{\infty} \sum_{r,s}^{n \geq r+s >0} \frac{1}{n!} \left(A_{p+r, q+s}  S(h_{rs}^{(pq)}) S(\Pi_+^{ -(1-(p+q))}) + S_{p+r, q+s} S(j_{rs}^{(pq)}) S(\Pi_+^{- (1-(p+q))})  \right),
\end{align}
and similar for the superrotations.
\newline

To define the $q$-analog of the Hopf algebra at hand (see \cite{Borowiec:2014aqa}) one also needs to make sure that all structures including the coproduct are at most polynomial in the generators. In the Poincare sub-Hopf algebra this is achieved with the help of $\Pi_+$ and $\Pi_+^{-1}$. One has to define all the Hopf algebra structures including these auxiliary objects which replace $S_{1\,1}=-i\sqrt{2}P_{+}$. The only nontrivial commutators are
\begin{align}
[ k_m, \Pi_+] = & \frac{ (m-1)}{\sqrt{2}\kappa} S_{1+m, 1}, \\
 [ \bar k_m, \Pi_+] = & \frac{ (m-1)}{\sqrt{2}\kappa} A_{1+m, 1}
\end{align}
and
\begin{align}
0 =& [ k_m, \Pi_+ \Pi_+^{-1}] = \Pi_+ [k_m, \Pi_+^{-1}] + [k_m, \Pi_+] \Pi_+^{-1} \\
\Rightarrow [k_m, \Pi_+^{-1}] =& \frac{-(m-1)}{\sqrt{2}\kappa}S_{1+m, 1} (\Pi_+^{-1})^2 ,\\
 [\bar k_m, \Pi_+^{-1}] =& \frac{-(m-1)}{\sqrt{2}\kappa}A_{1+m, 1} (\Pi_+^{-1})^2.
\end{align}
The coproducts then take the form
\begin{align}
\Delta (\Pi_+) &= \mathbbm1 \otimes \mathbbm1 + \frac{i}{\sqrt{2}\kappa} \Delta (S_{11}) \\
&= \Pi_+ \otimes \Pi_+, \\
\Delta (\Pi_+^{-1}) &= \Pi_+^{-1} \otimes \Pi_+^{-1}
\end{align}
and for the counits and antipodes one has
\begin{align}
\epsilon(\Pi_+) &= \epsilon(\Pi_+^{-1}) = 1, \\
S(\Pi_+) &= \Pi_+^{-1}, \quad S(\Pi_+^{-1}) = \Pi_+.
\end{align}
Note that for general generators of the BMS algebra (apart from the purely Jordanian case) this is not fulfilled in the current notation, e.g. the coproducts for $k_m$, $\bar k_m$ contain infinite power series (in $1/\kappa$) for $m>1$. Finding a reformulation to remedy the situation, if possible, will be the goal of future research.

\subsection*{Acknowledgments}
This research was supported by Polish National Science Center (NCN), project UMO-
2017/27/B/ST2/01902.  We thank Michele Arzano for discussion on the physical role of Hopf structures in the context of BMS symmetry.

redpajama_set_name: RedPajamaArXiv


A cabbie who drove from Huddersfield to Manchester Airport while five times over the booze limit to pick up a group of holidaymakers has been jailed.
Gurpraat Johal, 38, was locked up for 12 weeks after his lawyer told Manchester Magistrates Court he had been drinking a bottle of whisky a day for the past three years.
Paul Darnborough, defending said: "This man is dying, he is killing himself with whisky."
Divorced father-of-three Johal had spent 90 minutes on the M60 and M62 getting to the airport on the evening of April 10.
"He is a chronic alcoholic and has suffered serious damage to his liver," added Mr Darnborough.
Johal, of Gilthwaites Grove, Denby Dale, had pleaded guilty to driving his 12 seater taxi after consuming excess alcohol.
He was banned from the road for 36 months. Court chairwoman Pauline Salisbury said: "This offence is so serious the only sentence is one of custody.
"This was a blatant disregard to the safety of other people. You drove for 90 minutes on two busy motorways and were going to take several passengers back to Huddersfield.
After his arrest he suffered a seizure and spent 10 days in toxic shock. He is now in a wheelchair.
Prosecutor Kate Gaskell said Johal was arrested on the approach to the airport.
The taxi was moving backwards and forwards and Johal smelled strongly of alcohol. He said he had accepted a job to pick up passengers and take them back to Huddersfield.
Said to be £7,000 in debt, Johal said he had been knocking back whisky all day and should not have accepted the job. He will spend six weeks of his sentence in jail and the rest on licence.
He was ordered to pay an £80 Government surcharge.
"He is extremely ashamed of his behaviour – he has put his life in the bottom of a whisky bottle," said Mr Darnborough.