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Home > 2017 > 08/24 > TLN Top 20 Prospect Rankings 2017: #14 Miro Aaltonen
TLN Top 20 Prospect Rankings 2017: #14 Miro Aaltonen
August 24, 2017, 8:59 AM | Hayley Hendren
Seven players in, and we have our first Finn! Miro Aaltonen also has the honor of being our first Top 20 Prospect so far to have actually received a vote from every writer.
Even though he was drafted by the Anaheim Ducks in 2013, Aaltonen never signed with them, so the Leafs were able to get the creative forward on an ELC this past March. He's never played in North America, so you may not have had much of a chance to get to know him yet (that's what we're here for).
The Votes
Scott Maxwell /// Brayden Engel /// Shawn Reis: 12
Ryan Hobart /// Evan Presement /// Bobby Cappuccino /// Jon Steitzer: 13
Adam Laskaris: 14
Megan Kim: 15
Dylan Fremlin: 16
Hayley Hendren: 17
Ryan Fancey: 19
Player Bio
Aaltonen may be a little on the smaller side (5'11", 176), but he makes up for his size with his energy, skating, and creativity, and he can play either center or left wing. Many Toronto fans may not be familiar with him since he hasn't made it over from Europe yet, but he spent the last season with Chekhov Vityaz in the KHL and played for Finland in the 2017 IIHF World Championships.
First draft eligible in 2011, Aaltonen was passed over for two years before the Ducks took him at #177 (sixth round) in 2013, although he never played in the organization. It was in his draft year that he graduated to playing full-time with the Blues of Finland's Liiga, but it was also the year he broke his ankle at World Juniors, causing him to miss most of the second half of the season.
After being drafted to the NHL, Aaltonen stayed in Finland, playing two more seasons with the Blues and another with Kärpät before he went to Russia for the 2016-17 season. His 44 points in 59 games with Chekhov Vityaz drew the attention of the Leafs, and he signed a one-year ELC for the 2017-18 season.
It's worth noting that Aaltonen's Liiga production stayed pretty consistent from his draft year onward, even when he moved to Kärpät in 2015-16–a better team with better players. He didn't make quite as big of a splash as his teammate Sebastian Aho (the Finnish one), but he continued to establish his ability, drawing enough positive attention to make the jump to the KHL the following season. The KHL is certainly a more challenging league (second only to the NHL), but he improved even further, averaging .75 PPG with Chekhov Vityaz, compared to his .60 PPG the previous two years.
The Eye Test
In his draft year, Aaltonen was most noted for his skill and creativity with the puck, but his size and strength was questioned. Four years later, his strengths and weaknesses don't seem to have changed much, as he's continued to develop his skill but remains undersized compared to most NHLers.
The consensus is that the skill and potential are there, but he needs to improve his physicality and probably put on some more muscle in order to stick in the NHL, which is certainly doable. In his draft year, he was described as a player who "works hard but lacks physicality and needs to add plenty of strength", and a more recent report agreed that he "will need to add muscle to survive in North America but is currently slated to put up a fight for an NHL opportunity right away."
A consistent element of Aaltonen's game from his draft year until now is his ability to position himself well around the net, both with and without the puck. He prefers to shoot, but he likes to do it from in close, so you'll often see him passing the puck off while he works hard to get himself in a good position to take a second pass straight to the net.
Early in the IIHF World Championships this summer, Aaltonen spent time on Finland's top line with Sebastian Aho and Valtteri Filppula. But his ice time was reduced as the tournament wore on, and he finished with 0 points, having not made much of an impression at all. Although it was not his first time representing Finland, it was Aaltonen's first time on the men's national team, and his first time going up against current NHL regulars, so I'm not convinced we should judge him too harshly based on one recent international showing.
Here is the most recent compilation of his highlights, but it includes some moments from his draft year, as well. You can see for yourself how he likes to get right in the goalie's business for a shot or a rebound.
How's this one for a first goal in the KHL? He's right where he needed to be:
Four seasons removed from his draft year, it's good to see that Aaltonen has had continued success, especially in the KHL last year. A solid showing in the KHL is not necessarily a perfect indicator of ability to transition to the NHL, but the Leafs have had some decent luck in that area recently (Zaitsev especially comes to mind). It's likely that Aaltonen will start out with the Marlies, but Mike Babcock has by no means ruled him out as an NHL regular as soon as this season.
Mike Babcock expects Miro Aaltonen, Andreas Borgman and Calle Rosen to compete for jobs with the #leafs. "We have too many players now."
— Chris Johnston (@reporterchris) June 21, 2017
As a 24-year-old, Aaltonen's ELC with the Leafs is only good for one year, which gives him a little less time to prove himself than some of the other players in this series. But he also has an advantage over some of the others, namely his recent success in the KHL and several years of professional experience.
We all know how crowded the Leafs are with players at the moment (especially forwards), but Aaltonen's history as an asset on the man advantage, his projection as a second- or third-line left wing, and his playmaking ability all work in his favour. He won't necessarily have to make the NHL jump immediately, but if Aaltonen impresses at camp or with the Marlies, look for him to at least get a sniff of the big time this season (and maybe a shiny new deal).
Previously, on TLN Top 20 Prospect Rankings 2017…
#15 Trevor Moore
#16 JD Greenway
#17 Justin Holl
#18 Jesper Lindgren
#19 Vladimir Bobylyov
#20 Nikolai Chebykin
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Looking for Oral Surgery in Flowery Branch? For an appointment at Mulberry Creek Dental Care call our office today at 678-960-3440 or make an appointment today.
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Over 800 participants, 100 volunteers, sponsors, vendors and spectators will gather in the Everest Challenge base camp located in Blue Mountain Village. Food, music and entertainment in the Village will keep spirits high participants and spectators climb embark on each summit of Blue Mountain.
Join our mailing list to receive the latest news and updates from the Everest Challenge team.


Individual catering - in apartments are equipped kitchenettes for convenient cooking.
Let us pamper you and order a breakfast basket into your apartment. The nice smell and taste of fresh bread make you a pleasant start to the day.
Breakfast basket order at least two days before arrival.
In the neighbourhood of our guesthouse (50m) is located the inn at Jitka, where it is possible to arrange the food in the style of Czech home cooking. The inn offers a very pleasant atmosphere with outdoor seating.
Food and drugstore items can be purchased at local grocery store.
Cleaning - general cleaning 1x a week including towel replacement.
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Founded on and Supported by Rock-Solid Qualities Since 1985.
As you explore this site, you will not only learn more about DRS, our products and services, you will learn more about the qualities that set us apart.
Qualities that weren't manufactured by our marketing people... qualities that are the result of what we learned over the years from our clients. How they see us, why they work with us, what attracted them to us and why they stay with us.
After assembling the information, we distilled it down to four main qualities -- Vision... Commitment... Technology and... Ethics. All of which, we've been told numerous times over the years benefit our clients in innumerable ways.
As you continue to learn more about DRS, you will learn more about the way we provide value for our clients. And you don't have to wait until our first meeting. Just look to your right to get started. A summary of what we call our 4 Pillars of Strength and the impact they've had on the industries and clients we've served over the past 31 years.
The DRS Business Plan was the first document drafted when we started out in 1985. The second? The DRS Code of Ethics. Running DRS well and running it honestly were our first two priorities. And to this day, they're still the rules we live by. It's been said that water seeks its own level. Perhaps that's the reason over the years we have worked primarily with companies worldwide in regulated industries. They fit perfectly within our "play by the rules" work ethic and over all philosophy.
It has in fact become our corporate positioning, to wit: Because it all begins with regulatory compliance, the performance of the software we develop and maintain as well as the services we provide must follow suit. So you see, our client partnership successes have always been founded in large part on our unwavering adherence to our Code of Ethics.
Clients have frequently witnessed and commented on it, citing our constant personal contact, ongoing auditing of our products and services, and compliance benchmarks. Trust in a relationship helps to maintain the core strength of the relationship, and this is one of the strengths of our organization. Another is, of course, our leading edge technology.
While our code of ethics is at the core of our unmovable bedrock foundation, the technology software we develop, offer and maintain is ever changing.
Together they satisfy client requirements and are largely responsible for our record of client longevity.
For example, our mobile application PharmaSync©, patented in 2005, today provides the back-bone for our multi-channel marketing software. It is truly a testament to our development proficiency.
But delivering state of the art technology doesn't end with implementation. DRS always takes into account migration strategies. Allowing our clients to satisfy regulatory guidelines on all tracking systems and monitoring critical data associated with product sampling as well as the clinical study data.
In this case, "commitment" begins with th letters "D & B", our first client back in 1985 and still with us almost 32 years later! We are obviously very proud of our Dun & Bradstreet relationship as it is an honor and a testament to how well DRS services and products are configured. We are an extension of their commitment to excellence in servicing their own clients.
Overall, we are committed to be the best servicing arm for our partners no matter what the task. Many of these services include direct contact with their partners and customers. Nothing is more important to us than delivering the highest level of commitment to our partners.
As in many cases, one size doesn't always fit all. As a developer, DRS can either tailor an "off-the-shelf" product or develop a completely new iteration.
Our three-decades plus experience enables us to develop products and services that can actually fill in the blanks for any organization and their particular situation or corporate strategy. Agile software development and forward thinking integration methods help our client partners to realize their goals no matter how difficult they may seem.


The beauty industry and Cosmoprof Worldwide Bologna 2018 | C A N D A C E .
Hello kawans!! Last week I attended a pretty educational (in terms of beauty haha) presentation-event called Cosmoprof Worldwide Bologna Presentation at Westin Kuala Lumpur. As one whom grew up hoping to work in the beauty industry, I'm thankful for the insights I got to learn about during this presentation-event organised by the Italian Trade Agency (ITA) in collaboration with Bologna Fiere and Cosmetica Italia, with the support of Malaysia External Trade Development Corporation (MATRADE).
L-R: Mattia Miglio, International Marketing Manager of COSMOPROF, H.E. Christiano Maggipinto, Ambassador, Embassy of Italy in Kuala Lumpur, Dr Samuel Porsia, Italian Trade Commissioner of Kuala Lumpur and Abu Bakar Yusof, Director of Lifestyle, Life Science & Medical Devices and Pharmaceutical Section, MATRADE.
Above is Mr Mattia Miglio, the International Marketing Manager of COSMOPROF. During his presentation, he gave us a better insight on what to expect from Cosmoprof Worldwide Bologna.
So at Cosmoprof Worldwide Bologna, the platform is open to various segments in the beauty industry like perfumery and cosmetics, machinery, raw materials, packaging, contract manufacturing, aesthetics, hair care, nail, wellness and fitness.
During Cosmoprof Worldwide Bologna 2017, there were 2,677 exhibitors coming from 69 countries. The event also attracted the attendance of 250,000 beauty professionals from 150 countries with 103,571 being non-locals. A total of 1,210 attendees are journalists.
For companies and beauty professionals, Cosmoprof Worldwide Bologna 2018 would also be a place to create new acquisitions and international strategic alliances. Many would also attend the event to keep up-to-date with the latest and upcoming beauty trends. I'm sure just by attending an event like so would also spark some new innovative ideas.
The video above is an ad for Cosmoprof Asia 2017. Now you must be thinking "Huh?"
Yup, Cosmoprof is not only in Italy! There is also Cosmoprof North America Las Vegas and Cosmoprof Asia Hong Kong to look forward to!
A new addition to this worldwide beauty platform would be their upcoming September 2018 launch of Cosmoprof India in Mumbai. For those interested, more details on these will be listed at the end of this post.
During Mr. Abu Bakar Yusof's presentation, he shared that in 2016, the Italian exports of cosmetics to Malaysia has amounted to EUR 8.1 million and that the import of Malaysia cosmetics to Italy has a total of EUR 1.6 million. Although the difference is huge, progress can still be seen. As the imports of cosmetics from Malaysia to Italy had a huge increase of 326% compared to 2015, Mr. Abu Bakar Yusof mentioned that MATRADE will consider building a Malaysia country pavilion at Cosmoprof Worldwide Bologna 2019. This gives a great opportunity for Malaysia beauty companies to expand their business on an international scale.
Some industry trends & strengths that might come in handy for fellow beauty brands.
Following on, Puan Mawarni Hassan from the Federation of Malaysian Manufacturers had also shared with us the OEM Manufacturing in Malaysia (Halal perspective). Her presentation had given us a pretty clear definition of "what is halal" and later on explained the difficulties and complex procedure of obtaining a Halal certification for cosmetics.
Lastly, the president of Malaysia Association of Wellness & Spa, Dr Baskaran Kosthi gave us a very entertaining speech followed along with funny stories from the spa industry.
During his presentation, he introduced us to Malaysia's very own "Malaysian Massage" called Urutan Malaysia. If he did not share about this, I would've never thought of why are there Thai/Balinese massages everywhere but never have I seen Malaysia massage. At least now we know that we have Urutan Malaysia. For those wondering, Urutan Malaysia is a combination of massage techniques from Malays, Chinese, and Indians from Malaysia.
I managed to learn quite a bit from Cosmoprof Worldwide Bologna's presentation. As a makeup hoarder, I really can't wait to see what the beauty world has to offer every day. To beauty professionals reading this, good luck!
Cosmoprime - scouting ground for retailers & distributors of prestige/mass produced products.


text:
Podoboveț (în ) este un sat în comuna Pîlîpeț din raionul Boureni, regiunea Transcarpatia, Ucraina.

Demografie

Conform recensământului din 2001, toată populația localității Podoboveț era vorbitoare de ucraineană (100%).

Note

Podoboveț, Pîlîpeț, Mijhirea, Transcarpatia
Podoboveț, Pîlîpeț, Mijhirea, Transcarpatia
Podoboveț, Pîlîpeț, Mijhirea, Transcarpatia

redpajama_set_name: RedPajamaWikipedia


text:
Pose(r): Ryan Murphy, Trans and Queer of Color Labor, and the Politics of Representation
By Alfred L. Martin Jr.
Ryan Murphy, a cisgender white gay man, assembled the largest cast of trans actors ever for a scripted television series. In light of the recent controversy about Scarlett Johansson being cast as a trans character in the film Rub & Tug, hiring trans actors for trans roles is indeed important. But it is not necessarily important for issues of representation and diversity, as Johansson stated when she, amid the controversy, decided to withdraw from the role. Rather, it is important with respect to labor issues within Hollywood. Who is considered worthy enough to work in Hollywood? Who is deemed capable of portraying themselves? When is verisimilitude in casting favored over hiring who is "simply" the best? Murphy's Pose thus enters into a system (and indeed a world) built on the idea that white, cisgender heterosexuals are "brave" in taking on roles different from themselves. In this context, Pose offers an opportunity to try to disentangle the triumvirate that is representation, audiences and industrial casting practices.
Discussing representation can be tricky. Within a number of identity categories, mediated representation – literally the image we see on screens – is a central framework for examining the ways television portrays individuals who do not identify as white, cis-gendered and heterosexual. Within such a framework, Ryan Murphy's Pose was deemed important very simply because it sought to represent black gay men and trans people of color. Certainly, Pose is not the first time black gay men have been represented on television. From short-lived 1970s series like Sanford Arms and 1990s post-network television series like Moesha to "quality" series like The Wire and more contemporary series like Brooklyn Nine Nine, black queerness has bubbled up within television discourse, although not in the same ways afforded white gay men – in other words, the media industries continue to treat identity categories as discrete rather than intersectional. Conversely, while there have been trans characters on television series including the short-lived Dirty Sexy Money and "quality" series like Transparent and Orange is the New Black, such characters are infrequently characters of color. In this way, then, representationally, Pose might very well be an important series for those identity groups.
However, within television, audiences matter – a lot. In particular, the imagination of audiences matters because demographics determine which advertisers might be interested in shilling their wares in the spaces between the narrative. (A friend who works in TV once told me that an executive came to the show on which he was working and told the writing staff that the show was simply what they did between Tide commercials.) Audiences deemed most valuable to advertisers are deemed "quality," because they can generally be described as white, between the ages of 18 and 34 with income (or credit) they are willing to spend on consumer goods. Networks and television production companies who create programming are principally concerned with delivering consumers to advertisers at a profit, and as such, tend to imagine that those who watch their shows are part of this "quality" demographic. After all, Ryan Murphy's televisual output is often subsumed into quality television discourses (which always already implies that they are watched by "quality" audiences) as judged by the networks on which the series from his production company tend to appear and that they are often nominated for (and win) Emmy and Golden Globe awards. Like many so-called "quality TV" series, Pose debuted with a relatively small audience of 688,000 viewers. However, because the majority of its viewers were in the "quality" demographic, the series was renewed for a second season with John Landgraf, CEO of FX Networks and FX Productions, proclaiming the series as "an incredibly engaging story of creativity, courage, compassion, love and family at a pivotal time in our culture. […] earning a place in television history for its infectiously inclusive spirit." Landgraf's invocation of inclusivity is important here because the nebulous marketing speak he uses elides that the show is about queer people of color, not just queer people, who have been welcomed into the homes of white, socially liberal, urban-minded professional (SLUMPY) audiences since the Gay 90s, espousing a neoliberal logic that equates social progress and visibility politics. The imagination of these white SLUMPY viewers is important as networks like FX and series like Pose attempt to, as Todd Gitlin argues, "generate ideology… indirectly and unintentionally, by trying to read popular sentiment and tailoring their schedules toward what they think the cardboard people they've conjured up want to see and hear."
This is the space where Murphy's Pose first encounters issues. The "quality" discourse that surrounds it always already intimates that the imagined audience is white, middle class and financially well off (or at least stable), and not one that is, what I have called elsewhere a BLAMP, or black, liberal, affluent, metropolitan professional audience. In this way, then, it is free to engage with pathologizing discourses about race. In the pilot episode, one of the series' leading characters, Damon Richards, a young black gay man with a passion for dance, is thrown out of his home by his father, a move that is endorsed by his mother. There are, sadly, many young LGBT youth who are rejected by their families and are either forcibly removed from the familial home or choose to leave it because of the conditions therein. However, in Murphy's hands, this trope seems to only play out when there are characters of color involved. On Glee, while Kurt's father almost immediately grabs a rainbow flag and heads down to PFLAG, Santana's abuela is fiercely anti-lesbian. I am aware that such action serves as a narrative catalyst, but given the ways people of color generally, and black people specifically, are stereotyped as anti-gay, that Pose is largely imagined as a show for white, cisgender folks is problematic. White folks (largely) hold the belief that black folks (as a monolithic group) are anti-gay (forgetting that anti-gay legislation, which often gets codified into law, is spearheaded by white, often male, politicians). Because of this belief, the beginning of the episode is understood as a narrative catalyst. Pose uses the mythology that people of color are anti-gay to re-tether and reify such a pathology that can be observed across news and entertainment media.
Part of the ease with which Murphy can engage with such discursive treatment of queers of color is via casting. While Murphy seemed to eschew verisimilitude when casting wheelchair-bound Artie on Glee with an able-bodied actor, or his choice to cast heterosexual actor Justin Bartha as one half of a gay couple on The New Normal, Pose was approached differently. Instead of falling back on what Kristen Warner calls the "best actor discourse"—the entertainment industry's insistence that when casting any role, the best actor is sought, regardless of race, gender, sexuality or ability—Ryan Murphy thought the politics of representing queer and trans people of color was too great to be handed to heterosexual actors of color donning gayface and transface. Murphy's interest in casting queer and trans actors of color can be read as merely satisfying demands for inclusion without actually challenging the larger structural and systemic labor issues. As I have documented elsewhere, casting directors who are engaged to cast gay roles (wrongly) insist that they cannot ask an actor's sexual orientation or gender identity. However, even if that were true, it seems queer that casting director Alexa L. Fogel would "just happen to" be able to find queer and trans actors who both identify as such and happen to be deemed "best" by whatever nebulous criteria the best actor is judged. I argue here, as I have elsewhere, that such casting decisions, while wonderful, financially and professionally, for out LGBT actors of color who might not otherwise find work within a big-budget productions, are subterfuge. These gay and trans actors of color function as a shield for Pose's problematic representational politics. Jeremy Butler has argued that actors, the characters they play and their "star texts" become inextricably linked within audience reception practices. As such, if one expresses disapproval of any of Pose's LGBT characters, it could be construed as a critique of actors. Such a set of discursive practices functions to quiet criticism of such characterizations in a media environment in which representation of LGBT bodies (not to mention raced LGBT bodies) remains precarious.
A second way Pose attempts to shield itself from criticism is via the involvement of trans activist Janet Mock as a writer and producer for the series. Fascinatingly, Pose is Mock's first credit as a writer and only her second as producer, the first being 2016's The Trans List. My aim in calling attention to Mock's involvement with the series and her relatively slight resume is not to belittle her talent; Rather I argue that her involvement functions to deflect critique about the ways the show represents trans people of color. It is important to note that Ryan Murphy is a white cisgender gay man who ultimately profits (like Jennie Livingston, director of Paris is Burning, and a consulting producer on Pose) from telling (and exploiting?) the lives of queer and trans people of color. While he certainly has opened doors for these queer and trans actors, the fact remains that it is his white capital within a fundamentally racist industry that allows Pose to be made. And by focusing on employing trans folks, like Mock, Pose deflects the problematic narrative by trotting out the (secondary) trans and queer folks who are involved in its production.
In fact, Mock was the only producer to appear alongside Murphy and co-executive producer Brad Falchuk and the cast at the 2018 Television Critics Association (TCA) winter press tour. At TCA, Mock spoke about trans representation and that the characters in Pose were being written as "beyond the struggle with their bodies, with people calling them by their right name. These are people who are creating new ways of having family — chosen family through the ballroom networks." Mock's comments are important for two reasons. First, she centers a post-transness that suggests that the trans characters within the series are "beyond" the concerns of gender dysmorphia gesturing toward the notion that the "transition story" is one of the most frequent tropes within mainstream media when engaging with trans people's stories. However, despite Mock's suggestion, the series does, in fact, feature a story line in which Elektra Abundance struggles with her body, and has to weigh whether her gender dysmorphia is more important than keeping her boyfriend who does not want her to undergo gender re-assignment surgery (spoiler alert: she goes through with the surgery and loses her boyfriend as a result).
Concomitantly, in exploring dating and trans women of color, the series positions white men as the "prize" for these down-on-their-luck women. When Elektra "disobeys" her white boyfriend's wishes and undergoes gender re-assignment surgery, she is evicted from the apartment that serves as her home and the headquarters of the House of Abundance that she leads. In addition, Latina trans woman Angel also seeks a relationship with a married white man who initially engages her services as a prostitute. When their relationship moves beyond that of a prostitute and her John, he rents her an apartment, becoming a literal white savior who "rescues" her from life living in a small apartment that is called the House of Evangelista. Because whiteness has capital in what Dwight A. McBride calls "queer marketplaces of desire," the "obvious" choice for these trans women of color is to desire white men. McBride forwards that "Much like capital, whiteness is a valuable commodity in a fundamentally racist culture. Its value is so compelling, so complete, that it reaches even the most intimate parts of our lives as sexual, desiring and loving subjects." In this way, Pose gestures toward its SLUMPY audience by serving up and centering whiteness as cultural capital within queer marketplaces of desire even as the series ostensibly revolves around the lives of queer and trans people of color in 1980s New York City.
Is Pose a good show? I am not sure I would go that far, but it has moments. The narrative, like many (most?) Ryan Murphy series is jumbled with the ball scenes, in particular, going on for far too long, and the mise-en-scéne and dialogue do not always connote the 1980s. Resting on its historic representation of queers of color in a quality television program helps to hide that Pose's emperor is naked. I certainly celebrate that these black and brown trans and gay actors are finding work in Hollywood, but I find it difficult to celebrate Pose because while it may strike an appealing pose, that pose is, what Kristen Warner calls plastic – it cannot hold up under scrutiny because it is solely about the representation and not the conditions that have produced it.
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By Rebecca Wanzo

redpajama_set_name: RedPajamaCommonCrawl


text:
// Copyright 2013-2014 The Rust Project Developers. See the COPYRIGHT
// file at the top-level directory of this distribution and at
// http://rust-lang.org/COPYRIGHT.
//
// Licensed under the Apache License, Version 2.0 <LICENSE-APACHE or
// http://www.apache.org/licenses/LICENSE-2.0> or the MIT license
// <LICENSE-MIT or http://opensource.org/licenses/MIT>, at your
// option. This file may not be copied, modified, or distributed
// except according to those terms.

use std::uint;
use std::cast::{transmute, transmute_mut_unsafe};
use stack::Stack;
use std::rt::stack;
use std::raw;

// FIXME #7761: Registers is boxed so that it is 16-byte aligned, for storing
// SSE regs.  It would be marginally better not to do this. In C++ we
// use an attribute on a struct.
// FIXME #7761: It would be nice to define regs as `~Option<Registers>` since
// the registers are sometimes empty, but the discriminant would
// then misalign the regs again.
pub struct Context {
    /// Hold the registers while the task or scheduler is suspended
    priv regs: ~Registers,
    /// Lower bound and upper bound for the stack
    priv stack_bounds: Option<(uint, uint)>,
}

pub type InitFn = extern "C" fn(uint, *(), *()) -> !;

impl Context {
    pub fn empty() -> Context {
        Context {
            regs: new_regs(),
            stack_bounds: None,
        }
    }

    /// Create a new context that will resume execution by running proc()
    ///
    /// The `init` function will be run with `arg` and the `start` procedure
    /// split up into code and env pointers. It is required that the `init`
    /// function never return.
    ///
    /// FIXME: this is basically an awful the interface. The main reason for
    ///        this is to reduce the number of allocations made when a green
    ///        task is spawned as much as possible
    pub fn new(init: InitFn, arg: uint, start: proc(),
               stack: &mut Stack) -> Context {

        let sp: *uint = stack.end();
        let sp: *mut uint = unsafe { transmute_mut_unsafe(sp) };
        // Save and then immediately load the current context,
        // which we will then modify to call the given function when restored
        let mut regs = new_regs();

        initialize_call_frame(&mut *regs,
                              init,
                              arg,
                              unsafe { transmute(start) },
                              sp);

        // Scheduler tasks don't have a stack in the "we allocated it" sense,
        // but rather they run on pthreads stacks. We have complete control over
        // them in terms of the code running on them (and hopefully they don't
        // overflow). Additionally, their coroutine stacks are listed as being
        // zero-length, so that's how we detect what's what here.
        let stack_base: *uint = stack.start();
        let bounds = if sp as uint == stack_base as uint {
            None
        } else {
            Some((stack_base as uint, sp as uint))
        };
        return Context {
            regs: regs,
            stack_bounds: bounds,
        }
    }

    /* Switch contexts

    Suspend the current execution context and resume another by
    saving the registers values of the executing thread to a Context
    then loading the registers from a previously saved Context.
    */
    pub fn swap(out_context: &mut Context, in_context: &Context) {
        rtdebug!("swapping contexts");
        let out_regs: &mut Registers = match out_context {
            &Context { regs: ~ref mut r, .. } => r
        };
        let in_regs: &Registers = match in_context {
            &Context { regs: ~ref r, .. } => r
        };

        rtdebug!("noting the stack limit and doing raw swap");

        unsafe {
            // Right before we switch to the new context, set the new context's
            // stack limit in the OS-specified TLS slot. This also  means that
            // we cannot call any more rust functions after record_stack_bounds
            // returns because they would all likely fail due to the limit being
            // invalid for the current task. Lucky for us `rust_swap_registers`
            // is a C function so we don't have to worry about that!
            match in_context.stack_bounds {
                Some((lo, hi)) => stack::record_stack_bounds(lo, hi),
                // If we're going back to one of the original contexts or
                // something that's possibly not a "normal task", then reset
                // the stack limit to 0 to make morestack never fail
                None => stack::record_stack_bounds(0, uint::MAX),
            }
            rust_swap_registers(out_regs, in_regs)
        }
    }
}

#[link(name = "context_switch", kind = "static")]
extern {
    fn rust_swap_registers(out_regs: *mut Registers, in_regs: *Registers);
}

// Register contexts used in various architectures
//
// These structures all represent a context of one task throughout its
// execution. Each struct is a representation of the architecture's register
// set. When swapping between tasks, these register sets are used to save off
// the current registers into one struct, and load them all from another.
//
// Note that this is only used for context switching, which means that some of
// the registers may go unused. For example, for architectures with
// callee/caller saved registers, the context will only reflect the callee-saved
// registers. This is because the caller saved registers are already stored
// elsewhere on the stack (if it was necessary anyway).
//
// Additionally, there may be fields on various architectures which are unused
// entirely because they only reflect what is theoretically possible for a
// "complete register set" to show, but user-space cannot alter these registers.
// An example of this would be the segment selectors for x86.
//
// These structures/functions are roughly in-sync with the source files inside
// of src/rt/arch/$arch. The only currently used function from those folders is
// the `rust_swap_registers` function, but that's only because for now segmented
// stacks are disabled.

#[cfg(target_arch = "x86")]
struct Registers {
    eax: u32, ebx: u32, ecx: u32, edx: u32,
    ebp: u32, esi: u32, edi: u32, esp: u32,
    cs: u16, ds: u16, ss: u16, es: u16, fs: u16, gs: u16,
    eflags: u32, eip: u32
}

#[cfg(target_arch = "x86")]
fn new_regs() -> ~Registers {
    ~Registers {
        eax: 0, ebx: 0, ecx: 0, edx: 0,
        ebp: 0, esi: 0, edi: 0, esp: 0,
        cs: 0, ds: 0, ss: 0, es: 0, fs: 0, gs: 0,
        eflags: 0, eip: 0
    }
}

#[cfg(target_arch = "x86")]
fn initialize_call_frame(regs: &mut Registers, fptr: InitFn, arg: uint,
                         procedure: raw::Procedure, sp: *mut uint) {

    // x86 has interesting stack alignment requirements, so do some alignment
    // plus some offsetting to figure out what the actual stack should be.
    let sp = align_down(sp);
    let sp = mut_offset(sp, -4);

    unsafe { *mut_offset(sp, 2) = procedure.env as uint };
    unsafe { *mut_offset(sp, 1) = procedure.code as uint };
    unsafe { *mut_offset(sp, 0) = arg as uint };
    let sp = mut_offset(sp, -1);
    unsafe { *sp = 0 }; // The final return address

    regs.esp = sp as u32;
    regs.eip = fptr as u32;

    // Last base pointer on the stack is 0
    regs.ebp = 0;
}

// windows requires saving more registers (both general and XMM), so the windows
// register context must be larger.
#[cfg(windows, target_arch = "x86_64")]
type Registers = [uint, ..34];
#[cfg(not(windows), target_arch = "x86_64")]
type Registers = [uint, ..22];

#[cfg(windows, target_arch = "x86_64")]
fn new_regs() -> ~Registers { ~([0, .. 34]) }
#[cfg(not(windows), target_arch = "x86_64")]
fn new_regs() -> ~Registers { ~([0, .. 22]) }

#[cfg(target_arch = "x86_64")]
fn initialize_call_frame(regs: &mut Registers, fptr: InitFn, arg: uint,
                         procedure: raw::Procedure, sp: *mut uint) {
    extern { fn rust_bootstrap_green_task(); }

    // Redefinitions from rt/arch/x86_64/regs.h
    static RUSTRT_RSP: uint = 1;
    static RUSTRT_IP: uint = 8;
    static RUSTRT_RBP: uint = 2;
    static RUSTRT_R12: uint = 4;
    static RUSTRT_R13: uint = 5;
    static RUSTRT_R14: uint = 6;
    static RUSTRT_R15: uint = 7;

    let sp = align_down(sp);
    let sp = mut_offset(sp, -1);

    // The final return address. 0 indicates the bottom of the stack
    unsafe { *sp = 0; }

    rtdebug!("creating call frame");
    rtdebug!("fptr {:#x}", fptr as uint);
    rtdebug!("arg {:#x}", arg);
    rtdebug!("sp {}", sp);

    // These registers are frobbed by rust_bootstrap_green_task into the right
    // location so we can invoke the "real init function", `fptr`.
    regs[RUSTRT_R12] = arg as uint;
    regs[RUSTRT_R13] = procedure.code as uint;
    regs[RUSTRT_R14] = procedure.env as uint;
    regs[RUSTRT_R15] = fptr as uint;

    // These registers are picked up by the regulard context switch paths. These
    // will put us in "mostly the right context" except for frobbing all the
    // arguments to the right place. We have the small trampoline code inside of
    // rust_bootstrap_green_task to do that.
    regs[RUSTRT_RSP] = sp as uint;
    regs[RUSTRT_IP] = rust_bootstrap_green_task as uint;

    // Last base pointer on the stack should be 0
    regs[RUSTRT_RBP] = 0;
}

#[cfg(target_arch = "arm")]
type Registers = [uint, ..32];

#[cfg(target_arch = "arm")]
fn new_regs() -> ~Registers { ~([0, .. 32]) }

#[cfg(target_arch = "arm")]
fn initialize_call_frame(regs: &mut Registers, fptr: InitFn, arg: uint,
                         procedure: raw::Procedure, sp: *mut uint) {
    extern { fn rust_bootstrap_green_task(); }

    let sp = align_down(sp);
    // sp of arm eabi is 8-byte aligned
    let sp = mut_offset(sp, -2);

    // The final return address. 0 indicates the bottom of the stack
    unsafe { *sp = 0; }

    // ARM uses the same technique as x86_64 to have a landing pad for the start
    // of all new green tasks. Neither r1/r2 are saved on a context switch, so
    // the shim will copy r3/r4 into r1/r2 and then execute the function in r5
    regs[0] = arg as uint;              // r0
    regs[3] = procedure.code as uint;   // r3
    regs[4] = procedure.env as uint;    // r4
    regs[5] = fptr as uint;             // r5
    regs[13] = sp as uint;                          // #52 sp, r13
    regs[14] = rust_bootstrap_green_task as uint;   // #56 pc, r14 --> lr
}

#[cfg(target_arch = "mips")]
type Registers = [uint, ..32];

#[cfg(target_arch = "mips")]
fn new_regs() -> ~Registers { ~([0, .. 32]) }

#[cfg(target_arch = "mips")]
fn initialize_call_frame(regs: &mut Registers, fptr: InitFn, arg: uint,
                         procedure: raw::Procedure, sp: *mut uint) {
    let sp = align_down(sp);
    // sp of mips o32 is 8-byte aligned
    let sp = mut_offset(sp, -2);

    // The final return address. 0 indicates the bottom of the stack
    unsafe { *sp = 0; }

    regs[4] = arg as uint;
    regs[5] = procedure.code as uint;
    regs[6] = procedure.env as uint;
    regs[29] = sp as uint;
    regs[25] = fptr as uint;
    regs[31] = fptr as uint;
}

fn align_down(sp: *mut uint) -> *mut uint {
    let sp = (sp as uint) & !(16 - 1);
    sp as *mut uint
}

// ptr::mut_offset is positive ints only
#[inline]
pub fn mut_offset<T>(ptr: *mut T, count: int) -> *mut T {
    use std::mem::size_of;
    (ptr as int + count * (size_of::<T>() as int)) as *mut T
}

redpajama_set_name: RedPajamaGithub


Heritage Valley Health System's Sewickley hospital is pictured on Thursday, Dec. 13, 2018.
An affiliation between Heritage Valley Health System and Ohio Valley Hospital is official, enabling the McKees Rock-based hospital to expand its medical staff and clinical services and fund capital projects.
Both organizations retain their boards of directors for now, but over the next three years, they will be consolidated.
The president and CEO of Ohio Valley Hospital, David Scott, retired Dec. 31 and joined the Ohio Valley Hospital board as secretary. Michael Miller is the president and CEO of Ohio Valley Hospital. He formerly served as president of Consolidated Supply Chain Services LLC, a wholly-owned subsidiary of Heritage Valley Health System, and has been a member of Heritage Valley Senior Leadership Team for several years.
The organizations announced plans to unite in May, and after a period of due diligence during which they worked to finalize the agreement, received regulatory approval Jan. 1.
Ohio Valley Hospital now will be a subsidiary of the health system.
Ohio Valley Hospital, Senior Living at the Willows, wound care and pain management services will remain in the Kennedy Township-McKees Rocks community.
Sakson said the community will benefit from increased access to high-quality care that is a result of affiliation with a regional integrated healthcare delivery system. She named Heritage Valley's outpatient care at a number of regional locations and additional primary and specialty care physicians as examples.
Sakson said there are no additional specific changes at this time related to the affiliation.
Heritage Valley, which employs 3,500 and more than 480 physicians, provides healthcare to residents of Allegheny, Beaver, Butler and Lawrence counties, eastern Ohio and the panhandle of West Virginia. There are two hospitals in the system — Heritage Valley Sewickley and Heritage Valley Beaver — as well as 60 physician offices and 18 satellite facilities.
Ohio Valley Hospital has 124 beds and more than 250 physicians.


text:
How Allentown-bound Boyz II Men rebuilt its career
By Jodi Duckett
Boyz II Men: Nathan Morris (left), Shawn Stockman and Wanya Morris. (RONY SHRAM / CONTRIBUTED PHOTO)
Boyz II Men may no longer dominate radio, sell albums by the millions or command attention as one of R&B's most popular groupz. But member Nathan Morris has no complaints.
"We call this our second career, which a lot of people don't really get a chance to have," he says in a phone interview. "We're just excited to still be able to so what we love to do after 25 years."
This second career began in 2004, after the vocal group lost one of its members, bass vocalist Michael McCrary, and took a year-long hiatus.
In returning to music, Nathan Morris, Shawn Stockman and Wanya Morris found that the music industry was getting turned upside down by downloading of songs and that Boyz II Men's career was pretty close to being back at ground zero.
"It definitely wasn't easy, not by any means," Morris says, looking back on having to rebuild the group's career. "You sell 60 million records around the world and then you take a long break, and you come back and the industry has changed. They've moved on to other newer artists. And the fact that you've been off the scene for awhile, you have to kind of start over again. It was a little rough.
New Kids on the Block, coming to Allentown, talk about finding new success
By Alan Sculley
"So we pretty much had to put our 1996-97 egos aside and say 'Hey, this is what we've got to do in order to turn this thing around,' " he says.
The members of Boyz II Men had become accustomed to life at the top during their first decade together.
Formed in 1988 while Nathan Morris, Wanya Morris, Stockman and McCrary were students at the Philadelphia High School for the Creative and Performing Arts, the vocal group was signed by Motown Records, and with their 1991 debut album, "Cooleyhighharmony," blasted onto the worldwide scene.
Mixing hip-hop and new jack swing with classic-sounding, doo-wop influenced vocals, the album caught on big time. The singles "Motownphilly" and "It's So Hard to Say Goodbye to Yesterday" topped the R&B chart and were Top 5 pop hits. The "Cooleyhighharmony" album sold more than 9 million.
[More Entertainment] 50 things everyone in the Lehigh Valley should do »
That momentum ramped up even more when "End of the Road," a song recorded for the Eddie Murphy movie "Boomerang," was released in 1992 and topped Billboard magazine's all-genre Hot 100 singles chart for a record-setting 13 straight weeks.
When the group's sophomore album, "II," arrived in 1994, it was an immediate smash. The single "I'll Make Love to You" went straight to No. 1, and bested "End of the Road" by holding the top slot for 14 straight weeks, until a follow-up single from "II," "On Bended Knee," displaced that song at No. 1. In all, "II" sold 12 million and won the 1995 Grammy for Best R&B Album.
Boyz II Men enjoyed one more triple-platinum album, 1997's "Evolution," before things dropped off considerably, as both the 2000 album, "Nathan Michael Shawn Wanya," and 2002's "Full Circle" failed to reach platinum in sales.
Then came the departure of McCrary, who was said to be battling scoliosis, and the hiatus that extended until 2004.
[More Entertainment] REVIEW: Alice Cooper looks deep into his career, Halestorm looks at how far it's come at Allentown's PPL Center »
The comeback was gradual, as Boyz II Men, now a trio, had to go back to the clubs and start working back up the ladder.
Slowly, but surely, the size of the crowds and the venues got larger, as Boyz II Men got back into recording and touring.
A significant step came with the recording of three albums of cover songs. "Throwback Vol. 1," released in 2004, featured Boyz II Men's versions of R&B classics and sold 200,000 copies with little promotion.
After signing to Universal Records, the trio released "Motown: A Journey Through Hitsville USA" in 2007, on which Boyz II Men covered hits from that legendary record label. The album reached No. 6 on the R&B chart in the states.
[More Entertainment] Entertainment facility, coming to Allentown's former Rodizio Grill building, to feature area's first Topgolf Swing Suite »
Then in 2009, Boyz II Men released "Love," an album made up of covers of romantic songs from outside the R&B genre.
"Those records were actually key in our survival, because again, we were able to cover those [songs] and we were able to add those records to our repertoire," Morris says. "We had a bunch of corporate gigs where those [cover] songs really are needed. So the fact that we had three albums worth of remake songs, it allowed us to get back into the corporate game, which really turned some things around."
Another coup was landing a residency in Las Vegas in 2013. This not only gave Boyz II Men a string of shows to anchor each touring year, but it gave tourists from around the world a chance to see the group perform, generating a new fan base. Today, Boyz II Men is headlining theaters, casinos and the occasional amphitheater.
The group has continued to record, as well. In 2011, Boyz II Men released the album "Twenty," which included a dozen new songs and re-recorded versions of several of the group's '90s hits. The album, though, failed to connect commercially, and that helped spur Boyz II Men to make one of its boldest albums, "Collide," which was released in 2014.
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For the latest album, the trio worked with a variety of current songwriter/producers and recorded a dozen songs that range from ballads to R&B tunes and even some rockers — a collision of styles, as the album title suggests.
Morris said Boyz II Men made "Collide" simply because they liked the songs and their recent albums made them feel they could step beyond their signature sound.
"We were doing the re-make albums and people were like 'Oh, we're tired of hearing Boyz II Men do remake albums. You keep redoing other people's songs,'" he says. "So we went in and did 'Twenty,' which is what we call a classic R&B album. But then the fan base decided, 'Oh, we don't like that either.' So it's like we had come to the point where we had to go back to what got us started in music anyway, and that was doing music because we loved it."
Morris suspects that now, Boyz II Men will write and record new songs when it is inspired to add certain types of music to its live show. With albums selling so few copies now, careers are now built around the live show.
[More Entertainment] SUNNY DAYS AHEAD: Free summer events in the Lehigh Valley »
Boyz II Men has definitely been focused on its live shows, making a few changes to keep things fresh and bringing some of the showmanship it has developed in its Las Vegas shows to its touring shows.
"Obviously, we have to incorporate the classic songs, the songs people pay to hear," Morris says of the summer concert tour. "Then we throw a little bit of new stuff in as well. And we also throw in some covers here and there. But it's interesting, the covers that we do are songs that we have covered [on albums] … And last year, we decided to learn how to play a couple of instruments, so we have a little live section that we do now with our band where we play some songs on keyboards, guitars and stuff like that."
Alan Sculley is a freelance writer.
jodi.duckett@mcall.com
Twitter @goguidelv
Shawn Stockman
Most Read • Entertainment
'Rise' by Zhou Tian honors veterans with moving music inspired by their diary entries


text:
Home / News / Opinion | The Hunt Is on to Fix the Power Grid
Opinion | The Hunt Is on to Fix the Power Grid
In California, a resident can sign up with a company called OhmConnect and earn discounts on their power bills by responding to signals of distress on the electric grid. You might get a text from OhmConnect at 4 p.m., for example, and respond by going around the house turning off lights and unnecessary appliances. That reduction would be measured at your electric meter, and you would get points from the company that could be turned into cash or rewards like gift cards.
Less demand at your house and thousands of others would free up power to meet demand elsewhere on the grid. It sounds better than firing up another gas-burning power plant, no? Better yet, this kind of grid management has the potential to get even smarter.
Nicole Raven is a busy mother of three living in Kingsburg, Calif. It's located in the arid Great Central Valley, and scorching summers are the norm. She and her husband bought a house a few years ago and before they even moved in, got an electric bill for $600. "We were like, 'Oh my gosh,'" she recalled.
They installed a solar power system to generate some of their own electricity, but wanted to go further. On Facebook, she tripped across a link to sign up for OhmConnect's service. The company promised that she would be paid for saving money during grid emergencies. "I called people to see if it was real," she said. "All I heard was good reviews."
The company, founded in 2014, gave the couple a smart thermostat to install on their air-conditioner, linking it to OhmConnect's computers so the company could automatically turn the temperature up a couple of degrees. The Ravens got smart plugs to install on power-hungry devices. Ms. Raven even put one on her refrigerator, which lets the company shut off power to the fridge for an hour or so at a time. Refrigerators are well-insulated and stay cold for many hours, so she has not found it to be a problem.
And she has been astonished by the money she can make conserving power when the company declares an "OhmHour," its term for stress on the grid. "In a hot streak, when we get two OhmHours in a week, I can make $140," Ms. Raven said. "It's unreal." She makes the choice whether to let the company manage her power consumption. "If we have people over and it's 110 outside, I can override it," she said.
Where is OhmConnect getting the money to pay her? By aggregating the savings of many thousands of customers and selling that abated electrical demand into the California power market, just the way the owner of a gas-fired power plant would sell kilowatt-hours of generated power into the market. Since the company declares OhmHours only when the grid is stressed and power prices are high, it can be paid handsomely for suppressing demand.


text:
Q: Can't use unicode character as rune It appears that golang doesn't support all unicode characters for its runes
package main

import "fmt"

func main() {
  standardSuits := []rune{'♠', '♣', '♥', '♦'}
  fmt.Println(standardSuits)
}

Generates the following error:
./main.go:6: missing '
./main.go:6: invalid identifier character U+FE0F ''
./main.go:6: syntax error: unexpected , expecting comma or }
./main.go:6: missing '
./main.go:6: invalid identifier character U+FE0F ''
./main.go:6: missing '
./main.go:6: invalid identifier character U+FE0F ''
./main.go:6: missing '
./main.go:6: invalid identifier character U+FE0F ''
./main.go:6: missing '
./main.go:6: too many errors

Is there a way to get around this, or should I just live with this limitation and use something else?

A: It looks to me like a parsing issue. You could use the unicode points to produce that runes, which should give the same result as using the chars.
package main

import "fmt"

func main() {
  standardSuits := []rune{'\u2660', '\u2663', '\u2665', '\u2666', '⌘'}
  fmt.Println(standardSuits)
}

Generates
[9824 9827 9829 9830 8984]

Playground link: https://play.golang.org/p/jTLsbs7DM1
I added the additional 5th rune to check if the result from code point or char gives the same. Looks like it does.
Edit:
Not sure what is wrong with your chars (did not view them in a hex editor, have none around), but something is strange about them.
I also got this to run by copy pasting the chars from Wikipedia:
package main

import "fmt"

func main() {
  standardSuits := []rune{'♠', '♣', '♥', '♦'}
  fmt.Println(standardSuits)
}

https://play.golang.org/p/CKR0u2_IIB

A: The unicode string you use in your source code consist of more than one "character", but a character constant '...' is not allowed to contain strings of length greater than one.  In more detail:
If I copy&paste your source code and print a hexdump, I can see the exact bytes in your source code:
>>> hexdump -C x.go
00000000  70 61 63 6b 61 67 65 20  6d 61 69 6e 0a 0a 69 6d  |package main..im|
00000010  70 6f 72 74 20 22 66 6d  74 22 0a 0a 66 75 6e 63  |port "fmt"..func|
00000020  20 6d 61 69 6e 28 29 20  7b 0a 20 20 73 74 61 6e  | main() {.  stan|
00000030  64 61 72 64 53 75 69 74  73 20 3a 3d 20 5b 5d 72  |dardSuits := []r|
00000040  75 6e 65 7b 27 e2 99 a0  ef b8 8f 27 2c 20 27 e2  |une{'......', '.|
00000050  99 a3 ef b8 8f 27 2c 20  27 e2 99 a5 ef b8 8f 27  |.....', '......'|
00000060  2c 20 27 e2 99 a6 ef b8  8f 27 7d 0a 20 20 66 6d  |, '......'}.  fm|
00000070  74 2e 50 72 69 6e 74 6c  6e 28 73 74 61 6e 64 61  |t.Println(standa|
00000080  72 64 53 75 69 74 73 29  0a 7d 0a                 |rdSuits).}.|

This shows, for example, that your '♠' is encoded using the hex bytes e2 99 a0 ef b8 8f.  In utf-8 encoding this corresponds to the two(!) characters \u2660 \uFE0F.  This is not obvious by looking at the code, since \uFE0F is no printable character, but Go complains, because you have more than one character in a character constant.  Using '♠' or '\u2660' instead works as expected.

redpajama_set_name: RedPajamaStackExchange


text:
Tag Archives: SGI-1776
Context: Mouth exfoliative cytology is usually a simple, nonaggressive technique that
Context: Mouth exfoliative cytology is usually a simple, nonaggressive technique that is well approved by patients. for morphological features. Statistical Analysis: Collected data was by hand entered into the Statistical Package for the Sociable Sciences version 13.5 for analysis. Student's were assessed. The collected data was by hand entered into the Statistical Package for the Sociable Sciences version 13.5 (IBM, Delaware, USA) for analysis. Then the data was subjected to descriptive and interferential statistics to generate imply and standard deviation. For intergroup and intragroup gender assessment of means, Student's in males and for in females [Furniture ?[Furniture22 and ?and33]. Table 2 Intergroup gender assessment between type 2 diabetic males and control males Table 3 Intergroup gender assessment between type 2 diabetic females and control females In intragroup gender assessment, for diabetics, the effect was insignificant statistically. The full total result was nonsignificant in charge as well, except CA of as well as for T in PAPA case there is NA and CA:NA [Desks ?[Desks44 and ?and5].5]. This shown that in diabetics gender does not have any influence on morphometric adjustments in the cell but, some variation was showed with the control group in every the parameters. Desk 4 Intra-group gender evaluation between type 2 diabetic men an type 2 diabetic females Desk 5 Intra-group gender evaluation between control men and control females On intergroup evaluation of qualitative adjustments, it was noticed that cytoplasmic vacuolization [Amount 1a] was observed SGI-1776 in all of the sites except in diabetics SGI-1776 and was absent in every the websites in the control group. Nuclear degenerative adjustments such as for example karyorrhexis [Amount 1b], karyolysis [Amount 1c], pyknosis [Amount 1d], perinuclear halo [Amount 1e], and nuclear vacuolization [Amount 1f] were within Group 1, nevertheless, nothing were in Group 2 present. Binucleation [Amount 1g] was observed in both the groupings with higher level of occurence in Group 1. Percentage distribution of irritation [Amount 1h] was even more in Group 1 for all your four sites, SGI-1776 when compared with Group 2. Microbial colonies [Amount 1i] had been present on all of the sites in both organizations, however, its rate of recurrence of event was more in Group 1. was not found out in any of the organizations. Number 1 (a-i) Morphological degenerative changes in the cell Conversation Aim of the present study was to identify the oral epithelial changes using exfoliative cytology through cytomorphometry and morphological methods from BM, T, FOM, and in type 2 diabetic patients and comparing them with the normal mucosa of healthy individuals. Mean of the guidelines CA, NA, CA:NA along with morphological features were determined and assessed. Furthermore, intergroup and intragroup gender comparisons were performed. Quantitative assessment showed less mean CA, more mean NA, and less mean CA:NA in diabetics than that in settings for all the four sites with significant results except for CA for P. Related SGI-1776 results have been reported by few authors,[6,8,10,13,14] however, the difference in mean CA in their studies was statistically not significant. Although in the present study there was statistically significant decrease in mean CA in diabetics, according to some authors,[8,10,13,14] there was no statistical difference in CA when assessment was made between diabetics and settings. There are various explanations for the managed CA in both the organizations. Type 2 DM is definitely a psychosomatic and an age-related disease, which consequentially causes decreased perfusion of cells and cell turnover. Decreased cells perfusion happens by narrowing of blood vessels, which ultimately causes ischemia and atherosclerosis resulting in less nourishment to the cell. Moreover, decreased cell turnover gives the cell a stressed environment.[8] Normally, a cell maintains proper proportion and quantities of different cellular constituents by genetic and enzymatic regulation.[15] Hence, inside a cell the enzymes which are inactive could be activated according to requirement. Within a tense condition such as for example DM, a lot of the ATPs in SGI-1776 cell are depleted and a great deal of c-AMP is available as a break down item of ATP. The c-AMP works as an enzyme activator for phosphorylase handles and enzyme intracellular ATP focus, aswell as keeps function from the cell within a pressured condition. This c-AMP activates the glycogen splitting enzyme and phosphorylase liberating blood sugar molecule immediately,.
November 7, 2017 Justin Taylor	PAPA, SGI-1776
Overexpression of the epidermal growth element receptor (EGFR) gene and dysregulation
Overexpression of the epidermal growth element receptor (EGFR) gene and dysregulation of EGFR signaling are observed in various tumor cells, and EGFR is a validated target for malignancy therapy. that belongs to the ErbB family. EGFR plays important tasks in multiple cellular processes, including proliferation, migration, and differentiation. These cellular processes are brought on by ligands such as epidermal growth factor (EGF) and transforming growth factor (TGF). Upon binding of these ligands to EGFR, the receptor is usually activated and triggers intracellular signaling pathways. Under normal physiological conditions, EGFR signaling is usually tightly regulated by the binding of specific ligands.(1) However, in many types of malignancy cells, EGFR signaling is dysregulated due to overexpression or mutation of the receptor or extra production of growth factors, or a combination of these, leading to the overgrowth of malignancy cells.(2,3) For these reasons, EGFR is an attractive target for malignancy therapy. Anti-EGFR monoclonal antibody-based treatment is usually a validated strategy for malignancy therapy.(4) Cetuximab, a chimeric mouse-human anti-EGFR antibody, is usually clinically utilized for the treatment of metastatic colorectal cancer and squamous cell carcinoma of the head and neck. Cetuximab can inhibit malignancy cell growth through its antagonistic effect on EGF binding and antibody-dependent cellular cytotoxicity.(5) Nevertheless, it is known that some EGFR mutations and autocrine signaling contribute to poor response or resistance to cetuximab treatment.(6) In fact, Cunningham and colleagues reported that this rate of response to cetuximab in metastatic colorectal malignancy patients was 11%.(7) Therefore, development SGI-1776 of option antibodies against EGFR must be one of the strategies to overcome these therapeutic limitations. Using the rat lymph node method,(8) we produced two rat monoclonal antibodies against the extracellular domain name of EGFR; we describe these antibodies SGI-1776 in detail here. Materials and Methods Cell culture Human epithelial carcinoma cell collection A431 and mouse fibroblast cell collection NIH3T3 were cultured in Dulbecco's Modified Eagle's Medium (DMEM, Wako, Osaka, Japan) supplemented with 10% (v/v) fetal bovine serum (FBS) in a CDC14B humidified atmosphere of 5% CO2 at 37C. Recombinant antigens Recombinant antigens for immunization and enzyme-linked immunosorbent assay (ELISA) screening were produced using a mammalian expression system. Briefly, DNA encoding the extracellular domain name of human EGFR (EGFR-ECD, Swiss-Prot accession no. P00533, amino acids 25-645) was fused with DNA encoding the acknowledgement site (LEVLFQGP) for human rhinovirus 3C protease(9) and human IgG1 Fc (Swiss-Prot accession no. P01857) at the C-terminus. After cloning the DNA fragment into the pCAGGS expression vector,(10) the EGFR/Fc fusion (EGFR-ECD-Fc) gene was transiently expressed in HEK293T cells, and the protein of interest was purified by Protein A column affinity chromatography (rProtein A Sepharose Fast Circulation, GE Healthcare, Tokyo, Japan). EGFR-ECD was prepared by treating EGFR-ECD-Fc with human rhinovirus 3C protease (BioVision, Milpitas, CA). After digestion, the protein of interest was eluted in the flow-through portion of two-step affinity chromatography using rProtein A Sepharose and Ni Sepharose resins (both from GE Healthcare). Generation of hybridoma cell lines A 10-week-old female Wistar-Kyoto rat was injected in the hind footpad with 200?L of an emulsion containing 170?g of EGFR-ECD-Fc and Freund's complete adjuvant. Nineteen days after the immunization, the cells from your medial iliac lymph nodes of the rat were fused with mouse myeloma SP2 cells at a ratio of 1 1:1 in a 50% polyethylene glycol answer (PEG1500, Roche, Basel, Switzerland). The producing hybridoma cells were plated onto six 96-well plates and cultured in HAT selection medium (Hybridoma-SFM [Life Technologies, Grand Island, CA], 10% FBS, 1?ng/mL recombinant mouse interleukin [IL]-6, 100?mM hypoxanthine [Sigma, St. Louis, MO], 0.4?mM aminopterin [Sigma], and 16?mM thymidine [Wako]). At 7 days post-fusion, the hybridoma supernatants were screened by ELISA with EGFR-ECD as the antigen and by immunofluorescence SGI-1776 with A431 cells as target cells. Cells from your positive wells were cloned by limiting dilution and replated onto 96-well plates. Then, the hybridoma supernatants were further screened by circulation cytometry with A431 cells as target cells. Positive hybridoma clones were cultured in serum-free media (Hybridoma-SFM), and the rat monoclonal antibodies were purified from your supernatants by using Protein G Sepharose (GE Healthcare). The class and subclass of the rat monoclonal antibodies were determined by using the Rat Monoclonal Antibody Isotyping Test Kit (Serotec, Oxford, United Kingdom). ELISA EGFR-ECD (1?g/mL) in phosphate buffer was adsorbed on the surface of a 96-well plate by overnight incubation at 4C. The plate was blocked with 1% bovine serum albumin in phosphate-buffered saline (PBS) to avoid nonspecific binding..
June 3, 2017 Justin Taylor	CDC14B, SGI-1776


When the Unelmoija and her sister dropped Ernie off at Harry's house near Portland, Maine before vanishing into time, they hoped to give him a fresh start. Unfortunately, Ernie, a lanky shy man with a natural gift for technology and gadgets enhanced by his superhuman Weeia abilities, fell in with the wrong crowd. Left holding the bag for a crime he did not commit, Ernie is sentenced to the Weeia equivalent of public service, doing grub duty at the Marshals Academy, where the Weeia super cops are trained to keep the superhuman race hidden. Breaking the rules there is not a good idea, but Ernie cannot resist a good challenge, never realizing he will be swept up in the middle of a sinister plot that could cost him his life.


text:
"The Monster" is a song from American rapper Eminem's album The Marshall Mathers LP 2 (2013) featuring a guest appearance from Barbadian singer Rihanna. The song was written by Eminem, Rihanna, Bebe Rexha, Aalias, Jon Bellion, Maki Athanasiou, and Frequency, with the latter also handling production. Released on October 29, 2013, as the fourth single from the album, "The Monster" marks the fourth collaboration between Eminem and Rihanna, following "Love the Way You Lie" (2010), its sequel "Love the Way You Lie (Part II)" (2010), and "Numb" (2012), and is a hip-hop and pop song, with lyrics that describe Eminem pondering the negative effects of his fame while Rihanna comes to grips with her inner demons.

Upon release, the song was met with positive reviews from music critics, who compared the song to "Love the Way You Lie". "The Monster" has successfully charted worldwide, topping the charts in twelve countries including Australia, Canada, France, Ireland, New Zealand, Russia, Switzerland, the United Kingdom and the United States' Billboard Hot 100. It also marks Eminem's first number one on the US Hot R&B/Hip-Hop Songs chart and has reached the top ten in Austria, Belgium, Italy and Spain.

Background and production

In 2010, Eminem and Rihanna released their first official collaboration titled "Love the Way You Lie". The song received both critical and commercial success and topped the US Billboard Hot 100 chart for seven consecutive weeks. By the end of the year, 854,000 copies of the song were sold in the UK, making "Love the Way You Lie" the country's biggest-selling song of 2010. The same year, a sequel to the single, titled "Love the Way You Lie (Part II)" was released as part of Rihanna's fifth studio album Loud; it mainly views matters from the female protagonist perspective. In November 2012, Eminem and Rihanna collaborated again on "Numb", which was included on Rihanna's seventh album Unapologetic.

In November 2012, singer Bebe Rexha was at Stadium Red studio in Harlem, New York working on material to be included in her debut album. During the sessions, Rexha stated that she "was in a really dark place, a dark head space. Figuring out where you are in life and trying to make shit work for yourself—it gets to you. You get super down on yourself. I was just trying to get out of a depressed phase." At that moment, she wrote the hook for "The Monster"; in the moment she wrote it she knew that it was going to be a song performed by Eminem. The singer further stated that she got the inspiration from the quote "about the monsters that are around us and that live inside of us"; additionally, Rexha was disappointed at being dropped from the Island Def Jam record label.

The Senior Director of A&R for Shady Records, Riggs Morales started looking for potential songs to be included on Eminem's eighth studio album. When the producer of "The Monster", Frequency played the song for Morales he "freaked out" and asked for the verses to be stripped and ProTools sessions to be sent to Eminem. When Eminem heard the demo he then added his own verses and adjusted the instrumental portion(s) of the track. However, he left the background vocals sung by Rexha intact. On September 11, 2013, Rihanna wrote on her Twitter account that she had recorded a "#monster" hook for one of her favorite artists. On October 22, Eminem revealed the track listing for his eighth studio album, The Marshall Mathers LP 2, including "The Monster" on which Rihanna was credited as a featured artist. Shortly after premiering the song, Eminem spoke of working with Rihanna again to MTV News: "The perception of the record, what it's saying, I thought it would be a good idea to have her on it because I think people look at us like we're both a little nuts. That's one of the things that I was telling her in making the record: I think that people look at us a little crazy."

Critical reception
The song was generally well received by critics. Writing for the IBTimes, Tarun Mazumdar reacted positively to it, praising its "memorable lines" and Rihanna's "soulful" vocals and rating it 3.5 out of 5. Amy Sciaretto of PopCrush gave it the same rating and noted that "it's not nearly as powerful or affective as the previous partnership, but it's not supposed to be." Allan Raible of ABC News also enjoyed the song, calling it "a career highlight" and a "personal rhyme about his history." About.com's Bill Lamb had similar thoughts, opining that Eminem's introspection "lends the song engaging power" while also praising Rihanna's vocals. Idolator's Mike Wass noted that while it did not meet the standard of the duo's previous collaboration, the song was still "undeniably catchy and hook-filled enough for top 40 radio success." Keith Murphy of Vibe praised the lyrical content of the song but otherwise found the single lackluster. Jim Farber of The New York Daily News found it inferior to Eminem's previous single, "Rap God" and too similar to "Love the Way You Lie", but appreciated that "at least Em gets off some good lines in the new song." XXL positioned it at number 19 on their list of the best songs of 2013. Atlanta Black Star described the song as sounding "like an old school rap song as it blends genres with Eminem's rap vocals, rock guitars, and Rihanna's pop-style singing of the chorus."

Commercial performance

"The Monster" first entered the Billboard Hot 100 at number three, on November 6, 2013, marking Eminem's third best entry following "Not Afraid" (number one, 2010) and "Love the Way You Lie" also featuring Rihanna (number two, 2010). This ties "Berzerk", which also debuted at number three on the Hot 100. The entry gave Rihanna her 25th top ten on the chart, equaling Elvis Presley for the eighth-most top tens in the chart's history. This achievement also earned the singer the honor of being the fastest woman to accumulate the top ten tally (with eight years and four months since her first single), besting Madonna by three months. Furthermore, the debut marked Rihanna's 45th overall chart entry, tying Mariah Carey for the eighth most chart appearances amongst women.

The song concurrently opened at number one on the US Digital Songs chart, with sales of 373,000. The feat marked Eminem's ninth chart topper, giving him the third-most leaders in the tally's history, behind Katy Perry (9), and Rihanna, who increased her total to 13. The track also entered the US Radio Songs chart at number 31, marking Eminem's second-best entry position following "Just Lose It" (number 17, 2004). In the same issue, "The Monster" debuted atop the Hot R&B/Hip-Hop Songs chart, marking Eminem's first number one on the chart of his career, and Rihanna's third. Furthermore, the song entered at number one on the US Rap Songs chart, marking the sixth and fourth leaders for Eminem and Rihanna, respectively.

The song topped the Hot 100 in its sixth week on the chart, after previously spending four consecutive weeks at number two. The song's ascent to number one marked Rihanna's 13th US number one, tying her with Michael Jackson for the fourth most number ones in the chart's 55-year history. Additionally, Rihanna became the fastest solo artist to achieve 13 chart-toppers, surpassing the previous record held by Mariah Carey (seven-years, eight-month and 19 days), with only the Beatles reaching 13 number ones more quickly. The song also rose to number one on the Billboard Radio Songs chart, marking Rihanna's twelfth and Eminem's third number one on the chart. Rihanna also passes Mariah Carey for the most number ones on the Radio Songs chart with the single's number one peak. For Eminem, he ties Sean Combs and Ludacris for the most Hot 100 number ones among rappers, with five each. The song has sold 3,844,000 digital copies in the US as of June 2015.
In Canada, the song debuted at number one on the Canadian Hot 100, selling 54,000 downloads, making it Eminem's highest selling debut week in Canada for a single since his song "Berzerk," which sold 50,000 downloads in its debut week.

In the United Kingdom, "The Monster" entered at number one on the UK Singles Chart on November 3, 2013―for the week ending date November 9, 2013―selling 74,674 copies, despite being released on the previous Tuesday, and having a 48-hour disadvantage on the rest of the week's new singles. The song however, sold 96,059 copies the following week it dropped to number two, selling more copies than it did on the week it reached number one. The song marked Eminem and Rihanna's eighth number one single in that country of their careers respectively. It became Eminem's first single to top the chart as a lead artist since "Like Toy Soldiers" in 2005. Eminem however was featured on Akon's chart topping single "Smack That" in 2006. As for Rihanna, the chart topper placed her with Elvis Presley and The Beatles in the chart's history, as just one of three acts to have scored seven number ones in Britain over seven consecutive years. The song was commercially successful around Europe, reaching the top of the charts in eight countries and entered the top 10 in every territory it charted in. In Asia and Oceania, the single was a huge hit reaching the top position in many countries, including Australia and Lebanon where it spent seven weeks at number one in "The Official Lebanese Top 20".

Music video
Released on December 16, 2013, the song's accompanying music video, Eminem's third to be directed by the American filmmaker Rich Lee, depicts Rihanna as Eminem's therapist in a session, as previous videos from his career are shown and referenced including "Mockingbird", "My Name Is", "Lose Yourself", "3 a.m.", "The Way I Am" and the 2001 Grammy Awards performance of "Stan" with Elton John. The video was well received and earned three nominations at the 2014 MTV Video Music Awards, in the categories for "Best Male Video", "Best Collaboration" and "Best Direction". Eminem and Rihanna performed the song live at the 2014 MTV Movie Awards.

Awards and nominations

Cover versions
The Russian-American guitarist Alex Feather Akimov, released a guitar cover of "The Monster", a recording that was recognized by Billboard.biz (Web Trends).

The Welsh band the Beef Seeds recorded a bluegrass version of "The Monster" on their album Keepin' it Beefy (EP) (released January 27, 2014 on iTunes)

In November 2013, Rudimental covered the song at BBC Radio 1's Live Lounge.

Track listing

Notes
 signifies a co-producer

Charts

Weekly charts

Year-end charts

Decade-end charts

Certifications

|-
! colspan="3" | Streaming
|-

Release history

See also

List of best-selling singles in the United States
List of number-one singles of 2013 (Australia)
List of Canadian Hot 100 number-one singles of 2013
List of number-one singles of 2013 (Ireland)
List of number-one singles of 2013 (Finland)
List of number-one hits of 2013 (France)
List of number-one singles from the 2010s (New Zealand)
List of number-one songs in Norway
List of number-one singles of 2013 (Poland)
List of number-one singles of 2014 (Poland)
List of number-one singles of the 2010s (Sweden)
List of number-one hits of 2013 (Switzerland)
List of Billboard Hot 100 number ones of 2013
List of Billboard Rhythmic number-one songs of the 2010s
List of Billboard Mainstream Top 40 number-one songs of 2013
List of UK Singles Chart number ones of the 2010s
List of UK R&B Singles Chart number ones of 2013
List of UK Singles Downloads Chart number ones of the 2010s
List of number-one R&B/hip-hop songs of 2013 (U.S.)
The Monster Tour

References

External links

2013 songs
2013 singles
Songs about loneliness
Songs written by Eminem
Songs written by Rihanna
Eminem songs
Rihanna songs
Shady Records singles
Aftermath Entertainment singles
Interscope Records singles
Irish Singles Chart number-one singles
UK Singles Chart number-one singles
Billboard Hot 100 number-one singles
Canadian Hot 100 number-one singles
SNEP Top Singles number-one singles
Number-one singles in Poland
Record Report Pop Rock General number-one singles
Number-one singles in Finland
Number-one singles in Greece
Number-one singles in Hungary
Number-one singles in Lebanon
Number-one singles in Russia
Number-one singles in Scotland
Number-one singles in Switzerland
Number-one singles in Sweden
Number-one singles in Norway
Number-one singles in New Zealand
Number-one singles in Australia
Songs written by Bebe Rexha
Songs written by Jon Bellion
Grammy Award for Best Rap/Sung Collaboration
Music videos directed by Rich Lee
Songs about fame
Songs about monsters


1.4    [code del]: "enum_the = The"
1.7 -  "The P = (case filter P enum of [x] => x | _ => enum_the P)"
1.8 +  "The P = (case filter P enum of [x] \<Rightarrow> x | _ \<Rightarrow> enum_the P)"
1.13    then have "\<exists> n. x : bacc r n"
1.18      from choice[OF this] obtain n where n: "\<forall>y. (y, x) \<in> r \<longrightarrow> y \<in> bacc r (n y)" ..
1.19 -    obtain n where "\<And>y. (y, x) : r \<Longrightarrow> y : bacc r n"
1.20 +    obtain n where "\<And>y. (y, x) \<in> r \<Longrightarrow> y \<in> bacc r n"
1.22 -      fix y assume y: "(y, x) : r"
1.23 +      fix y assume y: "(y, x) \<in> r"
1.25 -      moreover have "n y <= Max ((%(y, x). n y) ` r)"
1.26 +      moreover have "n y <= Max ((\<lambda>(y, x). n y) ` r)"
1.38 -  "enum = map (\<lambda>ys. the o map_of (zip (enum::'a list) ys)) (List.n_lists (length (enum::'a::enum list)) enum)"
1.39 +  "enum = map (\<lambda>ys. the \<circ> map_of (zip (enum::'a list) ys)) (List.n_lists (length (enum::'a::enum list)) enum)"
1.42 -  "enum_all P = all_n_lists (\<lambda>bs. P (the o map_of (zip enum bs))) (length (enum :: 'a list))"
1.43 +  "enum_all P = all_n_lists (\<lambda>bs. P (the \<circ> map_of (zip enum bs))) (length (enum :: 'a list))"
1.46 -  "enum_ex P = ex_n_lists (\<lambda>bs. P (the o map_of (zip enum bs))) (length (enum :: 'a list))"
1.47 +  "enum_ex P = ex_n_lists (\<lambda>bs. P (the \<circ> map_of (zip enum bs))) (length (enum :: 'a list))"
1.50    show "UNIV = set (enum :: ('a \<Rightarrow> 'b) list)"
1.55 -  in map (\<lambda>ys. the o map_of (zip enum_a ys)) (List.n_lists (length enum_a) enum))"
1.56 +  in map (\<lambda>ys. the \<circ> map_of (zip enum_a ys)) (List.n_lists (length enum_a) enum))"
1.61 -   in all_n_lists (\<lambda>bs. P (the o map_of (zip enum_a bs))) (length enum_a))"
1.62 +   in all_n_lists (\<lambda>bs. P (the \<circ> map_of (zip enum_a bs))) (length enum_a))"
1.67 -   in ex_n_lists (\<lambda>bs. P (the o map_of (zip enum_a bs))) (length enum_a))"
1.68 +   in ex_n_lists (\<lambda>bs. P (the \<circ> map_of (zip enum_a bs))) (length enum_a))"


text:
You are here: Home / TV News from STUDIO BRIEFING / TV NEWS OUTLETS SHY AWAY FROM VATICAN SCANDAL
TV NEWS OUTLETS SHY AWAY FROM VATICAN SCANDAL
July 1, 2013 by admin · Leave a Comment
Reports that a former Italian priest has given police the names of nine priests who operated a "rent boy" ring at the Vatican began circulating on numerous gossip websites over the weekend but were virtually ignored by mainstream broadcast and cable news outlets. The former priest, Don Patrizio Poggi, had served a five-year sentence for abusing five teenaged boys at his parish. Reports said that a senior Vatican official, Cardinal Agostino Vallini, head of the Catholic Vicariate of Rome, had accused Poggi of seeking revenge after the church refused to reinstate him and called his accusations slander, a reason, perhaps, why some mainstream news outlets have been reluctant to repeat the accusations. But the London Sunday Times reported that Poggi's claims "gained some credibility from the fact that he was accompanied by Monsignor Luca Lorusso, an adviser to the Papal Nuncio to Italy, who is himself a confidante of Pope Francis."
Filed under TV News from STUDIO BRIEFING · Tagged with


The editors of Nineteenth-Century Art Worldwide are currently accepting proposals for articles addressing art and visual culture of the Americas in the long nineteenth century, from the American Revolution to World War I.
Academic program funding is available for in-person exchanges such as workshops, symposia, and colloquia that encourage international scholarship on American art topics (circa 1500–1980), as well as scholarly projects with focused theses that further research of American art in an international context.
These residential fellowships at the Smithsonian American Art Museum, in Washington, DC, support full-time independent and dissertation research by scholars from abroad researching historical American art (circa 1550–1980) or by US scholars, particularly those investigating international contexts for American art.
These grants enable scholars outside the United States to consult resources and visit collections within the United States. The foundation accepts proposals from doctoral students, postdoctoral and senior scholars.
These grants offer US-based scholars working on American art and visual culture prior to 1980 the opportunity to conduct research abroad. Grant funding is available for doctoral students, postdoctoral and senior scholars, whose projects require the study of materials outside the United States.
One of the ways we realize our global mission is by supporting visiting professorships and postdoctoral teaching fellowships at important academic institutions in Europe and elsewhere, thereby expanding opportunities for the study of historical American art. New opportunities will soon be announced.
This residential fellowship at the Institut national d'histoire de l'art (INHA), in Paris, offers a postdoctoral scholar the opportunity to pursue his or her own work while in residence for 12 months. The Terra Foundation fellow will be able to consult local libraries and archives, including the INHA library. Additionally, the Terra Foundation fellow will benefit from a travel allowance to visit museum and archival collections in the United States and attend the College Art Association conference or another American scholarly event.
This fellowship at the American Academy in Rome offers support for a postdoctoral and senior scholar to conduct research on American art and visual culture prior to 1980 while in residence for 4 to 6 months. Topics dealing with Italian-American exchanges and requiring first-hand exposure to collections and archives in Rome and its vicinity will be given priority.


Remember that I hiked 13 km + the day before, so this felt good. The water was cool, but not icy and it allowed me to get a bit closer to the falls. You'll note that my sandals don't match. I managed to kill the left one of my old favourites (the brown Jack Wolfskin ones) and one of the newer wind river ones (that I bought on sale for $4.99) a couple of years ago. Unable to find a new pair that was either fantastic enough to pay a significant amount of money for or cheap enough to buy for the sake of having matching sandals at the end of the summer - I decided that I'd hold out and finish out the year in mismatched ones.


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Slađana Petrušić (Prnjavor, 24. ožujka 1983.) hrvatska je pjevačica i glumica.

Životopis
Slađana Petrušić rođena je 24. ožujka 1983. godine u Prnjavoru, a sada živi u Zagrebu. Rođena je u hrvatskoj obitelji.

Svoje prvo pojavljivanje ostvarila je 2002. godine u emisiji Noćna mora Željka Malnara, u kojoj je predstavila svoje dvije pjesme Uđi mi duboko i Mokra sam do kože.

Godine 2005. pojavila se u seriji Bitange i princeze, kao i u emisiji Hrvatska mora. Iste godine, pozirala je naga za travanjsko izdanje Playboya.

Godine 2011. izdaje autobiografski roman Nevina kurva, u kom pored svog života, opisuje i svoj rad tokom emisije Noćna mora, kao i poteškoće koje je imala u izdržavanju petočlane obitelji.

Svoje prvo pojavljivanje u reality showu ostvarila je 2008. godine u realityju Farma 1. Kasnije, 2015. godine ulazi u reality Parovi 4, u kom je diskvalifikovana zbog fizičkog napada na rediteljku i glumicu Jelenu Golubović. Nakon kraćeg vremena, ulazi u isto sezonu ali je ponovno diskvalifikovana, zajedno sa svojim tadašnjim dečkom Vladimirom Tomovićem, zbog nasilničkog ponašanja. Godine 2015. ulazi u reality Parovi 5, gde osvaja drugo mjesto, iza Dalile Mujić.

Od 2018. godine, vodi emisiju Provodadžija i reality Parovi 7.

Godine 2019. dobiva šest mjeseci pritvora zbog napada na Jelenu Golubović. Iste godine, ulazi u reality Parovi 8.

Izvori

Vanjske poveznice

Hrvatski pjevači
Hrvatski glumci


text:
Q: looping through dictionary in pandas I've got a dataframe and I want to say if value is equal or like, then call column "output" a new value.
My code is below
df.loc[df['Varname']=='Intercept','Output']='1Base'
df.loc[df['Varname'].str.contains('Xmas|Bank|Easter'),'Output']='3Holidays'
df.loc[df['Varname'].str.contains('BF'),'Output']='9Events'
df.loc[df['Varname'].str.contains(r'(?=.*Brand)(?=.*ME2)'),'Output']='hjhjha'
df.loc[df['Varname'].str.contains(r'(?=.*Trading)(?=.*ME2)'),'Output']='ghghg'
df.loc[df['Varname'].str.contains(r'(?=.*Sky)(?=.*PovRSP)'),'Output']='dfdfdf'

Is there a way I can do this in a dictionary and loop?
for example
dict={Intercept : 1Base,
     ,'Xmas|Bank|Easter : 3Holiday

and so on
and then loop through this?

A: You can put your strings into a dict
d = {'^Intercept$': '1Base'
    'Xmas|Bank|Easter': '3Holidays'
    'BF': '9Events'
    r'(?=.*Brand)(?=.*ME2)'): 'hjhjha'
    r'(?=.*Trading)(?=.*ME2)'): 'ghghg'
    r'(?=.*Sky)(?=.*PovRSP)'): 'dfdfdf'}

an iterate through this
for key, value in d.items():
    df.loc[df['Varname'].str.contains(key), 'Output'] = value


text:
Cheap flights from Adelaide to Ho Chi Minh City
Flights starting at £220. Choose between Scoot, Jetstar Airways, or AirAsia to find the best price.
Adelaide to Ho Chi Minh City
Tips to know when travelling to Ho Chi Minh City
Virgin Australia Airlines
Tue 7 Mar – Thu 16 Mar
Adelaide ADLMelbourne MELSingapore SINMelbourne MELAdelaide ADL
Mon 6 Mar – Thu 16 Mar
Adelaide ADLMelbourne MELSingapore SINHo Chi Minh City SGN
Book your trip to arrive at Tan Son Nhat International, Ho Chi Minh - Chung cư Phúc Yên, Ho Chi Minh - Sai Gon, Ho Chi Minh-Mien Tay, or Ho Chi Minh - East. The most popular airlines for this route are Scoot, Jetstar Airways, AirAsia, Virgin Australia Airlines, and Qantas. Adelaide and Ho Chi Minh City have 296 direct flights per week. When you arrive at Ho Chi Minh City, consider visiting Mekong Delta, Killing Fields, Phnom Penh, and Cu Chi Tunnels.
Check-in for a flight from Adelaide to Ho Chi Minh City
Scoot TGW TR Yes No
AirAsia AXM AK Yes 0
Virgin Australia Airlines VOZ VA Yes 0
Vietnam COVID-19 travel restrictions
Most travelers from Adelaide, ADL can enter Vietnam, but there are restrictions.
Electronic visitor visa
Learn more about COVID-19 restrictions in Vietnam in our dedicated Stories article.
What are the most popular routes to and from Adelaide?
Travelers frequently search for route combinations, such as Adelaide and Melbourne, Sydney, Manila, Port Lincoln, Bangkok, Brisbane, Kuala Lumpur, Perth, Denpasar, Cairns, Singapore, Hobart, Hanoi, Seoul, Gold Coast, Canberra, Darwin, Tokyo, Mildura, Mount Gambier.
What are the most popular routes to and from Ho Chi Minh City?
Travelers frequently search for route combinations, such as Ho Chi Minh City and Hanoi, Singapore, Da Nang, Hong Kong, Bangkok, Taipei, Nha Trang, Phú Quốc, Kuala Lumpur, Melbourne, Manila, Da Lat, London, Sydney, Haiphong, Perth, Tokyo, Chiang Mai, Hue, Brisbane.
What airports are near Adelaide?
The main airport in Adelaide is Adelaide. It is also served by Adelaide, Kingscote.
What airports are near Ho Chi Minh City?
The main airport in Ho Chi Minh City is Tan Son Nhat International. It is also served by Tan Son Nhat International, Phnom Penh International, Lien Khuong, Can Tho International, Rach Gia.
Is it possible to combine flights, buses, and trains in one itinerary when traveling between Adelaide and Ho Chi Minh City?
Yes, it's possible to combine different modes of transport between Adelaide and Ho Chi Minh City thanks to our Virtual Interlining technology. Making use of not only flights but also trains and buses between Adelaide and Ho Chi Minh City can give rise to new adventures. Read more about how Virtual Interlining works on Kiwi.com Stories.
Which airlines fly between Adelaide and Ho Chi Minh City?
Currently, you can fly between Adelaide and Ho Chi Minh City with Scoot, Jetstar Airways, AirAsia, Virgin Australia Airlines, Qantas.
When's the best time to travel between Adelaide and Ho Chi Minh City?
If you don't have specific dates for your trip between Adelaide and Ho Chi Minh City, you can enter a date range into the departure and return fields. Most carriers on the Kiwi.com website allow you to search and book up to six months from the day of your search. Order the search results by the best, cheapest, or fastest route, or find the cheapest outbound and return combination in the pricing table.
What flights operate between Adelaide and Ho Chi Minh City?
Traveling between Adelaide and Ho Chi Minh City, you can choose between direct (nonstop) flights or flights with one or more stops. You can select the number of stops on your journey, including an overnight stopover, and the duration of the stopover. What's more, you can also select where you want to have your stopover. Want to say "Hi" to a friend in another city en route to your destination? Or fancy a quick round of shopping? Go Multi-City or Nomad and add places to your search that you wish to visit.
How many airports are there near Adelaide?
How many airports are there near Ho Chi Minh City?
What time do nonstop (direct) flights between Adelaide and Ho Chi Minh City depart?
What time do nonstop (direct) flights between Adelaide and Ho Chi Minh City arrive?
What time do flights between Adelaide and Ho Chi Minh City depart?
What time do flights between Adelaide and Ho Chi Minh City arrive?
Flights from Adelaide
Flights from Adelaide to Melbourne
Flights from Adelaide to Sydney
Flights from Adelaide to Manila
Flights from Adelaide to Port Lincoln
Flights from Adelaide to Bangkok
Flights from Adelaide to Brisbane
Flights from Adelaide to Kuala Lumpur
Flights from Adelaide to Perth
Flights from Adelaide to Denpasar
Flights from Adelaide to Cairns
Flights from Adelaide to Singapore
Flights from Adelaide to Hobart
Flights from Adelaide to Hanoi
Flights from Adelaide to Seoul
Flights from Adelaide to Gold Coast
Flights from Adelaide to Canberra
Flights from Adelaide to Darwin
Flights from Adelaide to Tokyo
Flights from Adelaide to Mildura
Flights from Adelaide to Mount Gambier
Flights from Hanoi to Ho Chi Minh City
Flights from Singapore to Ho Chi Minh City
Flights from Da Nang to Ho Chi Minh City
Flights from Hong Kong to Ho Chi Minh City
Flights from Bangkok to Ho Chi Minh City
Flights from Taipei to Ho Chi Minh City
Flights from Nha Trang to Ho Chi Minh City
Flights from Phú Quốc to Ho Chi Minh City
Flights from Kuala Lumpur to Ho Chi Minh City
Flights from Manila to Ho Chi Minh City
Flights from Da Lat to Ho Chi Minh City
Flights from London to Ho Chi Minh City
Flights from Sydney to Ho Chi Minh City
Flights from Haiphong to Ho Chi Minh City
Flights from Perth to Ho Chi Minh City
Flights from Tokyo to Ho Chi Minh City
Flights from Chiang Mai to Ho Chi Minh City
Flights from Hue to Ho Chi Minh City
Flights from Brisbane to Ho Chi Minh City
Flights from Taipei to Fukuoka
Flights from Olbia to London
Flights from Seattle to London
Flights from Bacolod to Cebu
Flights from Honolulu to London
Flights from Birmingham to Frankfurt
Flights from Edinburgh to Marseille
Flights from Dubai to Manchester
Flights from Stockholm to Thessaloniki
The nearest countries with flights to Ho Chi Minh City
Other destination countries from Adelaide
Airports near Ho Chi Minh City
Tan Son Nhat International
Phnom Penh International
Lien Khuong
Can Tho International
Con Dao
Find the best connection from Adelaide to Ho Chi Minh City


text:
Q: Calling setstate inside the callback of setstate Can I use setstate inside the callback function of the setstate
'''this.setstate(update,function(){this.setstate}.bind)'''
is the above given code correct and will it work

A: this.setState({
 someState: newValue,
}, callback);

above code is using callback function in setState.
so you may write code like this.
this.setState({
 someState: newValue,
}, () => {
 // some code you want
});