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Q: Renaming all variables from a SAS Table I have two SAS tables which are the same, only the column names aren't the same.
The first table D1 has 80 column names that have the following pattern X1000_a010_b020 and the second table D2 has 80 column names that have the following pattern X_1000_a0010_b0020. Please note that they are not in the same order.
I want to make sure that all the columns from D1 have the same names as in D2. In other words, I want to add the underscore after the X and add a 0 after all the a's and b's.
However I don't how to proceed. I would guess that RegEx would be the go to but I am not familiar with it.
As a structure example, some times ago I was using the following code to replace spaces in a column name with an underscore. I would like to do the same but for the underscore after the X and the 0 after the a's and b's.
%macro rename_vars(table);
  %local rename_list sqlobs;
  proc sql noprint;
    select catx('=',nliteral(name),translate(trim(name),'_',' '))
      into :rename_list separated by ' '
    from sashelp.vcolumn
      where libname=%upcase("%scan(work.&table,-2,.)")
        and memname=%upcase("%scan(&table,-1,.)")
        and indexc(trim(name),' ')
    ;
  quit;
  %if &sqlobs %then %do ;
      proc datasets lib=%scan(WORK.&table,-2);
        modify %scan(&table,-1);
          rename &rename_list;
        run;
      quit;
  %end;
%mend rename_vars;

A: Your example code seems to show you have a plan for how to implement the renaming so let's just concentrate on generating the OLDNAME <-> NEWNAME pairs.  You can generate a list of names in a particular dataset with PROC CONTENTS or querying DICTIONARY.COLUMNS with SQL code (or SASHELP.VCOLUMN with any tool).  So let's assume you have a dataset named CONTENTS that contains a variable named NAME.  So the goal is to create a new variable, which we can call NEWNAME.
So let's just translate the three transformations you say you need directly into individual actions. You can collapse the steps if you want, but there is no pressing need for efficiency in this operation.
data fixed_names;
   set contents;
   newname = tranwrd(upcase(name),'_A','_A0');
   newname = tranwrd(newname,'_B','_B0');
   newname = cats(char(newname,1),'_',substr(newname,2));
   keep name newname;
run;

Now you could pull that list into a macro variable.  So a space delimited list of old=new pairs is useful for rename.
proc sql noprint;
  select catx('=',name,newname) into :renames
    from fixed_names
    where newname ne upcase(name)
  ;
quit;

Or if the goal is to literally compare the two datasets you might want to generate one list of old names and a separate list of new names.
 select name,newname
   into :oldlist separated by ' '
      , :newlist separated by ' '
   from fixed_names
 ;

Which you could then use with PROC COMPARE directly without any need to rename any variables.
 proc compare data=DS1 compare=DS2 ;
    var &oldlist;
    with &newlist;
 run;


Since my husband was diagnosed with Systemic Vasculitis he is unable to work much. I am looking for work, but the children have needs.
My current situation is that my husband was just diagnosed with a rare disease, Systemic Vasculitis, which attacks your lungs and kidneys. He is still working minimal hours due to his appointments three times a week and his lack of strength. I am currently looking for a job.
I need clothes for my children, including clothes for everyday use and uniforms for school, as well as personal items, such as shampoo, etc. My goal is to become employed. I am currently going to get trained to clean houses through Eco Cleaning company that is located here in Concord. This will help keep my stress level down to focus on getting employment, and allow my children to keep embracing their childhood.
Meeting this need will help us because I can give my children the bare necessities that they have not received since the diagnosis of my husband. They are quickly growing and I have minimal funds to get them clothes they can fit in.
I'm from Mexico City, and now I live in Concord, CA, with my family. Something interesting about me is that I love making crafts. I'm happiest when my family is happy and united. I'm most proud of my daughters. They are always working hard and look forward to keep learning new things. I have three children, two daughters and a son. My son is 16 and is very responsible and hard working. My daughters love school and are very responsible with their work. The youngest is very hyper-active but always a lot of fun. I am a very honest and responsible person. I always find a way to get things done and look to giving my family the best that I can. I am heavily involved in my children's lives. I volunteer in their school to be able to give my children the best education experience possible.
Thank you for helping Reyna fund this need.
I met Reyna more than a year ago when she started to volunteer for our center.
I think meeting this need is important because she will be able to focus on finding a stable job. Since her husband was diagnosed with a rare disease, the family is living day by day, not knowing what the next day brings nor if they will have another day with their father/husband. This will help bring a brighter day for the whole family and continue with the fight to find a cure for his disease.
Since Reyna started volunteering, her whole family has been very involved. Reyna gifted her talent to decorate for the inauguration of our Junior Giants Baseball League and made it very festive. Throughout the season, her family was very involved and was responsible for making the first season a successful one. Reyna is also heavily involved in her children's lives and is very active in their school. This family's commitment to be part of a positive change in their community has made a difference. I hope you can help make a difference in their lives.


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Home Health Covid-19 Pfizer, Moderna, Astrazeneca, Janssen: the side effects nationwide in France
Pfizer, Moderna, Astrazeneca, Janssen: the side effects nationwide in France
Side effects of covid vaccine
side effects of covid-19 vaccins
Some people fear a lack of perspective and research on vaccines against Covid-19. So months after the beginning of their use, what about the side effects associated with the four vaccines authorized in France nationwide?
Over 33,000 cases of adverse reactions deemed not to be serious
This Friday, July 16, the National Agency for the Safety of Medicines and Health Products (ANSM) provided its update on the side effects of vaccines against Covid-19.
Since the start of the vaccination, ANSM has put in place a pharmacovigilance system. Thus, with the French network of Regional Pharmacovigilance Centers (CRPV), the Agency analyzes the statements made by health professionals, vaccinated people and their families. The aim is to prevent unwanted effects from vaccines in France.
In total, of the 45,779,000 injections carried out against Covid-19 until July 8, 2021, 33,296 cases of adverse reactions have been identified. However, the ANSM believes that "The majority of side effects are expected and not serious. "So there is no picture: the risk-benefit balance is largely in the direction of vaccination.
What are the side effects of vaccines?
The Pfizer vaccine
45,799,000 French people received it.
64 cases of myocarditis(0.0001%)
111 cases of pericarditis(0.0002%)
The Moderna vaccine
5,566,000 doses have been injected.
7 cases of myocarditis (0.0001%)
13 of pericarditis (0.0002%).
Three severe cases of rheumatoid arthritis(0.00005%)
three cases of glomerular nephropathy(0.00005%)
7,210,000 injections were performed
53 cases of thromboembolic disorders(0.0007%) have been identified, including 13 fatal.
609,000 injections have been made
In total, 243 cases of side effects were detected, including 4 Guillain-Barré syndromes.
In view of this large study, we can assume confidently that vaccines against Covid-19, especially using the ARN messenger, are highly effective for an extremely low risk.
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text:
Maybe we should take Arturas Karnisovas at his word: he's feckless middle-management doing very little and saying even less
Looks like the Bulls got what they wanted
By your friendly BullsBlogger@BullsBlogger Aug 11, 2020, 10:44am CDT
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Photo by Garrett Ellwood/NBAE via Getty Images
There's only so many ways we can follow Bulls 'news' these past few months. So little has happened, and any reporting is incredibly flimsy (perhaps more than ever given lack of access).
There is somehow STILL talk of the Bulls 2019-20 season being resumed, even though I personally declared it over and for all intents and purposes a 'resumption' looks more like an offseason, even if it isn't reflected that way on the financial calendar.
So in the meantime there's plenty of speculation, 'informed' to varying degrees, over what the hell the Bulls and new purportedly-lead-basketball-decision-maker Arturas Karnisovas is actually doing. And some of it is based in the mindset of rationalizing: for example, that ownership is stepping in it given a worse 2020-21 financial outlook than when Karnisovas was hired.
But maybe this is all projection, to talk around what's looking more and more clear after all these weeks in 'the new era': Karnisovas was a Bulls hire.
That can mean different things based on perspective. For the Bulls, it's great: Karnisovas had no cachet coming in and won't rock the sinking ship boat.
For Bulls fans, he sucks!
Not only has Karnisovas sat on his hands since making a few front office additions (and letting a few contracts expire), he's also gone into hiding. Karnisovas has not spoken publicly in over two months, which was an 'end of season' press conference for a season they are refusing to end. In the nine weeks since, there has been little attempt and even less success in reporting on what Karnisovas is actually doing.
So instead, let's go back to Karnisovas's own public words, now with added perspective:
Does this sound like a dynamic empowered executive?
We want to spend time internally to assure that we are thorough in our appraisals. I take pride in being deliberate and thoughtful in my decision making and take the weight of my decisions seriously. I'm not inclined to make evaluations prematurely to satisfy our excitement to move this team forward.
In order for me to keep players and coaches accountable, I have to have personal relationships with them. That's what I need to cultivate. That's my objective this offseason. I need to be there. I need to see it for myself.
To make a decision about coaching is really hard. It's probably the hardest thing for executives. So I look at a lot of aspects. I've had numerous conversations. That said, would like to be in a building, to be in practices, to be around the coaching staff in meetings. We're looking forward to getting in the video room together, analyze the games, to watch games together.
At the time, Karnisovas included many caveats of not physically being in Chicago and seeing people in person, but he's had a couple months of that now and still nothing. He included a mention at the time of not foreseeing any more front-office additions, and that has indeed been the case. Holdovers like John Paxson's brother and Gar Forman's IowaState assistant remain, as does Jim goddamned Boylen.
And retaining any of them, most egregiously the openly-mocked worst coach in the league, is not a 'really hard decision' requiring a 'cultivated personal relationship'. And it's not even consistent: Gar wasn't allowed this evaluation, and no outside coaching candidate will allow for whatever activity Karnisovas 'needs' to see from Boylen. Nor is it consistent with the rest of the league: both the Knicks and Pistons are hiring and firing even though they were 'left behind' from The Bubble.
Maybe we were giving Karnisovas the benefit of the doubt months ago, but that really shouldn't be the case any longer. He means what he says, and he says he's a ponderously slow and unimpactful decisionmaker.
And that's the Bulls way. They hired how they usually do: first-timers with limited clout. He wasn't a poached leader in the industry - can you imagine someone at the level of Sam Presti coming in and talking/behaving like this? - nor even a right-hand man in a championship-level franchise.
The Bulls hired a second banana from a mid-market team, and Karnisovas's lack of action combined with even less public projection of non-futile words has it looking like the Bulls got what they paid for.


We live in the most exciting time one could possibly hope to be alive. Every day, new aspects of our earthly existence are being discovered, advanced, and technologically exploited to further improve our experience of reality on this planet and in this universe we humbly occupy. Yet, despite these fascinating daily occurrences, we still love to speculate on what could come next, in both the near and distant future. As such, the pinnacle of future-predictive media and art is, of course, science fiction films.
All right, wait one minute before all you novel-loving, paper-lugging tree-killers out there throw me under the flying bus about the nature of imagination associated with books. I love books! I do. But bear with me here… the kitsch involved in distilling an era's singular idea of the future through present day technology manages to both give context to the collective vision of the future, and archive each era at the same time.
One of the ways we have explored the unknowable future is by speculating upon the sounds of the future. As I'm sure you know, many of these sounds are remarkably cheesy (Is that really what "beaming me up" sounds like? This laser looks more powerful than it sounds… etc.), but some of these sounds have gone on to define our understanding of certain technologies — a few of which have gone on to be realized!
One of the more obtuse but interesting uses of technology in sci-fi film is how quickly we adopted synthesized sounds into our vision of the future, since they represent the obvious sound of the future. Let's take a look at the ways our use of synthesizers has developed throughout the history of forward-looking film.
+ Learn more on Soundfly: Create your own future sounds with our free series of courses, "Demystifying Synths"!
Electronic music in film arguably began with the use of theremin, as exemplified in the classic extraterrestrial visitation film The Day the Earth Stood Still (1951). In Bernard Herrmann's score, the instrument is set atop a largely orchestral score typical of the era, with a wide vibrato that, at times, makes the sound difficult to distinguish from an open-vowel vocal from a soprano opera singer. Still, the use of the instrument begat our fascination with representing the otherworldly (i.e., aliens, UFOs, and other extraterrestrial concepts) with markedly otherworldly sounds.
Forbidden Planet (1956) was the first film based entirely in outer space, making it one of the most extensive forays into science fiction filmmaking to that point. To go along with its exploration of the unknown, its score, written by Bebe and Louis Barron, was the first soundtrack consisting entirely of electronic sounds.
At the time, it couldn't even be considered a "score" because its composers were not unionized musicians, and was instead dubbed a series of "electronic tonalities." So, the Barrons could not be considered for Oscar nomination in the score or special effects categories.
Forbidden Planet's soundtrack set the (sound) stage for many future generations of sci-fi creators such as Star Trek creator Gene Roddenberry. The Barrons would continue to collaborate with filmmakers through the 50s, further developing their signature "tonalities." Still, it would be many years before synthesizers would become widely available, and recognized as the standard sound of sci-fi. Electronic tones, though they defined much of the sci-fi sound in the early-to-mid fifties, would largely fall out of fashion and take a backseat to more jazz-oriented sounds through much of the early 60s, such as those found in the Planet of the Apes films.
Yes, the mid-to-late 60s brought us the first round of synthesizers as we know them today — vast keyboards of knobs and blips and blinking meters, or imposing, maniacal walls of inputs and outputs covered in the same knobbery and mad-science nonsense. Robert Moog flooded the world with a new wave of commercially available synths into the '70s and redefined what we think of as the "sound of the future" — largely, an amalgamation of basic sonic waveforms, orchestrated in any way imaginable.
In 1971 Wendy Carlos wowed and confused and creeped out audiences by accompanying Kubrick's eerie masterpiece, A Clockwork Orange, with synth- and vocoder-heavy arrangements of classical pieces. In so doing, Carlos masterfully ties in the psychological drama of Beethoven's works, critical to the plot of the film, and adds another associative layer to the future-synths connection.
Though not a sci-fi piece, Halloween still represents an important synth-based score of the era. In this classic thriller, director John Carpenter masterfully takes on the work of scoring his own film, using synth pads, basses, stabs, and electronic percussion to elevate a creepy piano-driven main-title theme. The harkening of '80s synth-pop is readily apparent in this orchestration. John Carpenter would go on to score many of his own films, including The Fog, Escape from New York, and future installments in the Halloween series, among others.
Disco and techno pioneer Giorgio Moroder's contribution to synth scoring cannot be overstated. His utilization of extensive disco-dance beats in brilliant scores for such non-sci-fi hits as Midnight Express, American Gigolo, Scarface, Top Gun and the 1984 revitalization of Metropolis, as well as others, helped usher in a new wave of film music. And unlike his 50s predecessors, Moroder has won several Oscars.
The renaissance of synthesized sci-fi scores, and potentially its golden era, truly came to in the '80s. By this point synthesizers had become fairly mainstream and were included in much of the chart-topping popular music of the age. But that didn't stop composers from continuing to turn to these robotic music-makers for their futuristic needs.
Wendy Carlos would again propel the frontier of electronic scoring forward with her innovative 1982 score for TRON, an indelible commentary on our likely dystopian future ruled by computers. Requiring menace and tension with a technological focus, synths provide an obvious palette for Carlos' melodramatic orchestrations.
Then Bladerunner sank the future-focus of synth sounds even deeper into popular psyche. In this highly period-specific soundtrack, Vangelis followed up the success of his synth and drum machine-based soundtrack for Chariots of Fire (1981) with an even-synth-heavier soundtrack to augment the oppressively dystopian future portrayed. Unmistakably '80s production, paired with sweeping orchestral strings help mark this very specific era of synthesized scoring.
By that point, the '80s sci-fi synthesis scene had burst wide open, accompanying a similar trend in popular music. The terrifying return of John Carpenter with The Thing; the glitchy, bit-crunchy eeriness of Videodrome; the essentially epic, synth-orchestral fusion of The Terminator and its sequels; and many others sanctified synths as the standard for sci-fi scenarios, especially those of the creepy and unknown variety.
It is worth noting, that at this point during the height of synthesized scoring, many of the world's most beloved sci-fi films chose to separate their sci-fi sound design, opting for a traditional orchestral arrangement and instrumentation. Some most notable examples of this include 2001: A Space Odyssey, Star Wars, Aliens, and Star Trek.
Many of the best known sci-fi films of the '90s followed in the footsteps of these earlier orchestra-only examples (Jurassic Park, Gattaca, Galaxy Quest, 12 Monkeys, etc.), but while popular rock and grunge music brought on a cultural rejection of the world of synthesis, a few soundtracks chose to embrace the sci-fi sonic legacy of synthesis and push forward.
Among the most significant were those dealing with the newest repercussions of digital computing technology. In 1995, Hackers, based largely on an underground scene of technologists undermining the status quo, chose to complement the story with underground rave music, including The Prodigy's "Voodoo People", side by side with early '90s dance music hits — a trend which Trainspotting would follow a year later (though neither compare to the brazen, lavish rave-life depiction of Cool World, from 1992). Cult-classic Tank Girl contains mainly grunge and punk, but the Courtney Love-compiled soundtrack also includes such electronic luminaries as Björk and Portishead.
At the tail end of the '90s, many films full embraced the current electronic music of the time. The surrealist film Pi thrilled and chilled us with thumping IDM beats and trip-hop moods, The Matrix series would blow us away with its depiction of future worlds nestled within worlds accompanied by high-energy breakbeats. The thriller Run Lola Run took a similar approach, scored largely John Carpenter-style by its director, Tom Tykwer. And the trend continued well into the early 2000s.
Today, of course, synths pervade much of film's sonic landscape, though frequently still in tandem with classical, romantic orchestral writing.
Many contemporary composers such as Hans Zimmer (Inception, The Dark Knight Rises, Interstellar, and over 100 more), Junkie XL (300: Rise of an Empire, Paranoia, Mad Max: Fury Road), Bear McCreary (Battlestar Galactica, The Walking Dead), and others eloquently realize epic, devastating fusions of electronic and acoustic sounds where the audience frequently cannot distinguish between the two sonic realms.
Meanwhile, artists like Trent Reznor and Atticus Ross (The Social Network, Gone Girl), Jon Hopkins (The Lovely Bones, Monsters), and others are working in an almost entirely synth-driven and electronic musical context, creating even more otherworldly sounds than the world has previously heard. Still, neither of these two approaches can be ruled out.
In other words, it's an exciting time to be a music technology nerd. Composers working both with purely electronic scores, as well as those employing electronic elements within traditional, orchestral scores, all continue to redefine the sound of our collective future.


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Justia Dockets & Filings Fifth Circuit Texas Western District Cleveland v. Pierce Filing 10
Cleveland v. Pierce
REPORT AND RECOMMENDATIONS that the Court DISMISS Cleveland's 1 Petition for Writ of Habeas Corpus and that the Court WARN Cleveland re: abusive filings. Signed by Judge Andrew W. Austin. (klw)
IN THE UNITED STATES DISTRICT COURT FOR THE WESTERN DISTRICT OF TEXAS AUSTIN DIVISION TJ JONES CLEVELAND v. MIKE PEARCE, WARDEN, FEDERAL CORRECTIONAL INSTITUTE, BASTROP, TEXAS § § § § § § § A-13-CV-319 SS REPORT AND RECOMMENDATION OF THE UNITED STATES MAGISTRATE JUDGE TO: THE HONORABLE SAM SPARKS UNITED STATES DISTRICT JUDGE Before the Court are TJ Jones Cleveland's Petition for Writ of Habeas Corpus pursuant to 28 U.S.C. § 2241, filed on April 18, 2003 (Dkt. # 1), and Respondent's Response and Memorandum in Support of Motion to Deny Petition, filed on October 21, 2013 (Dkt. # 9). The Magistrate Judge submits this Report and Recommendation to the United States District Court pursuant to 28 U.S.C. §636(b) and Rule 1 of Appendix C of the Local Court Rules of the United States District Court for the Western District of Texas, Local Rules for the Assignment of Duties to United States Magistrate Judges. I. GENERAL BACKGROUND On November 15, 1999, in Case No. 99 417691-D, Petitioner TJ Jones Cleveland or Thomas Cleveland ("Cleveland") was sentenced by the 377th District Court in Victoria, Texas to a term of imprisonment of 10 years for "Manufacture/Delivery of a Controlled Substance." On October 31, 2001, Cleveland was released on parole from the Texas Department of Criminal Justice Clemency and Parole. On December 15, 2004, Cleveland was arrested again by the Victoria Police Department on a warrant for a state parole violation. Shortly after his arrest for the state parole violation, a grand jury in the United States District Court for the Southern District of Texas indicted Cleveland on three counts of federal gun and drug charges. See Case No. 6:05-CR-00005, in the U.S. District Court for the Southern District of Texas. On February 15, 2005, Cleveland was temporarily taken into federal custody by the U.S. Marshals Service on a Writ of Habeas Corpus Ad Prosequendum. Pursuant to a Plea Agreement, Cleveland then pled guilty to possession with intent to distribute 119 grams of Cocaine base, in violation of 21U.S.C. § 841(a)(1) and (b)(1)(A), and possession of a firearm in furtherance of a drug trafficking crime, in violation of 18 U.S.C. § 924(c)(1)(A)(I). On May 1, 2006, the United States District Court for the Southern District of Texas sentenced Cleveland to 185-month term of imprisonment, a fiveyear term of supervised release, participation in a drug treatment program, and a $200 special assessment fee. On July 24, 2006, Cleveland was released from federal custody and was returned to Victoria County Jail to complete his 10-year state sentence. On October 5, 2007, Cleveland was released from the state of Texas on parole and was placed into the custody of the U. S. Bureau of Prisons to complete his federal sentence. On August 8, 2008, the Sentencing Court issued an "Order Regarding Motion for Sentence Reduction" pursuant to 18 U.S.C. § 3583(c)(2), reducing his sentence from 185 months to 158 months imprisonment. See Dkt. # 74 in 6:05-CR-00005. Cleveland is currently incarcerated at the Federal Correctional Institute in Bastrop, Texas. The Bureau of Prisons ("BOP") has calculated his release date to be October 19, 2017 (based on his 158 month term of imprisonment commencing on May 1, 2006). In this action, Cleveland is challenging the BOP's calculation of his release date, contending that he is entitled to credit for time spent in federal custody from February 15, 2005, to April 30, 2006, when he was temporarily taken 2 into custody by the U.S. Marshall Service to face his federal charges pursuant to the federal writ of habeas corpus ad prosequendum. II. ANALYSIS A. Cleveland's sentence has correctly been computed by the BOP As noted, in this writ, Cleveland is seeking credit for time from February 15, 2005, to April 30, 2006, during which he was in federal custody pending the disposition of his federal charges. Cleveland ignores the fact that during this time period he was in the primary custody of the State of Texas and was merely on "loan" to the federal officials pursuant to the writ of habeas corpus ad prosequendum. See Causey v. Civiletti, 621 F.2d 691, 693 (5th Cir. 1980) ("A writ of habeas corpus ad prosequendum is only a "loan" of the prisoner to another jurisdiction for criminal proceedings in the receiving jurisdiction."). Accordingly, Cleveland remained in state custody when he was on loan to the federal authorities during this time period, and his federal sentence did not commence until May 1, 2006, the date of the nunc pro tunc designation by the Sentencing Court. See Jones v. Joslin, 635 F.3d 673, 675 (5th Cir. 2011) (finding that petitioner's federal sentence commenced on the day he was officially released from state custody and released to federal officials); United States v. Brown, 753 F.2d 455, 456 (5th Cir. 1985) (finding that petitioner was not due any credit toward his federal sentence for short intervals while "on loan" to federal authorities pursuant to writ of habeas corpus ad prosequendum since the state's custody over him remained uninterrupted, and he was therefore due no § 3568 credit). Moreover, the time period for which Cleveland seeks credit, February 5, 2005 to April 30, 2006, has already been credited toward his Texas state sentence. See Declaration of Alan Ray at ¶ 16, Exh. A to Government's Response. A defendant is only given credit toward his term of 3 imprisonment for any time he spent in official detention prior to the commencement of his federal sentence "that has not been credited against another sentence." 18 U.S.C. § 3585(b). Accordingly, the BOP has properly determined that Cleveland was not entitled to credit for the time period from February 5, 2005, to April 30, 2006, pursuant to § 3585. B. Abuse of the Writ In addition to raising a meritless claim, Cleveland is also guilty of abusing the writ. When Cleveland was incarcerated in the Eastern District of Texas, he filed two previous petitions under 28 U.S.C. § 2241, which raised the same argument as raised in the instant § 2241 Petition—that the BOP wrongly denied him credit for time spent in state custody. See 1:08-cv-00886 TH-KFG; and 1:10-cv-00485-MAC-ESH. The Eastern District of Texas rejected Cleveland's arguments and dismissed both of his petitions. Id. Cleveland appealed the later dismissal and the Fifth Circuit affirmed, finding that "the BOP properly determined that Cleveland was not entitled to credit under § 3585(b) against his federal sentence" since "the period for which Cleveland seeks credit against his federal sentence was credited against his state sentence." Cleveland v. Fox, No. 11-40276, 450 F. App'x 379; 2011 WL 5598298 (5th Cir. Nov. 17, 2011). A § 2241 petition is considered to be abusive if it raises "the same legal issue" addressed and resolved in a prior filing. United States v. Tubwell, 37 F.3d 175, 177–78 (5th Cir.1994); see also Williams v. Tamez, 466 F. App'x. 326, 327 (5th Cir. 2012) (finding that district court did not abuse its discretion in dismissing a § 2241 petition as an abuse of the writ where the petition raised the same legal issue as a prior petition). Because Cleveland has raised the same argument as he has raised in his two previous unsuccessful § 2241 petitions, the instant petition could be found to be an abuse of the writ. Accordingly, the Court will recommend that the District Court warn Cleveland 4 that any future abusive filings will result in the imposition of sanctions, including monetary sanctions and restrictions on his ability to file any future pleadings in this Court. III. RECOMMENDATION The Magistrate Court RECOMMENDS that the District Judge DISMISS T.J. Jones Cleveland's Petition for Writ of Habeas Corpus pursuant to 28 U.S.C. § 2241(Dkt. # 1). The Magistrate Court FURTHER RECOMMENDS that the District Court WARN Cleveland that any future abusive filings will result in the imposition of sanctions, including monetary sanctions and restrictions on his ability to file any future pleadings in this Court. IV. WARNINGS The parties may file objections to this Report and Recommendation. A party filing objections must specifically identify those findings or recommendations to which objections are being made. The District Court need not consider frivolous, conclusive, or general objections. Battles v. U. S. Parole Comm'n, 834 F.2d 419, 421 (5th Cir. 1987). A party's failure to file written objections to the proposed findings and recommendations contained in this Report within fourteen days after the party is served with a copy of the Report shall bar that party from de novo review by the district court of the proposed findings and recommendations in the Report and, except upon grounds of plain error, shall bar the party from appellate review of unobjected-to proposed factual findings and legal conclusions accepted by the district court. See 28 U.S.C. § 636(b)(1)(c); Thomas v. Arn, 474 U.S. 140, 150–153 (1985); Douglass v. United Servs. Auto. Ass'n, 79 F.3d 1415, 1428–29 (5th Cir. 1996). To the extent that a party has not been served by the Clerk with this Report & Recommendation electronically pursuant to the CM/ECF procedures of this District, the Clerk is 5 directed to mail such party a copy of this Report and Recommendation by certified mail, return receipt requested. SIGNED this 11th day of February, 2014. _____________________________________ ANDREW W. AUSTIN UNITED STATES MAGISTRATE JUDGE 6


France has something for everyone. Home to a stunning coastline, magnificent mountains and an idyllic countryside, the nation is most known as a hotbed of history, architecture, culture, fashion and gastronomic excellence, not to mention its very own Disneyland!
Nightlife, shopping, food, wine and culture. Live it up with these quintessential French experiences.


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From the CEO's Desk
How We Authenticate Every Twitter User
Breaking down Web5, the Elon Deal, and outlining a better way to authenticate users.
Prad Nukala Nov 9, 2022 ∙ 6 minutes read
The internet world is at an impasse. With increasing pressure from users for freedom of speech, and unwillingness from monolithic companies to loosen their indoctrinated moral grip; humanity loses as a whole. The internet contributes to 12% of the US GDP and has grown 7x faster than any sector in the past 4 years. It's clear that something so substantial to our economy should facilitate the proper measures in order to ensure that users won't be exploited, correct?
Elon + Twitter
On March 27, Elon Musk first expressed his distaste for how Twitter handles user censorship and verification. To this I responded:
In the time since that tweet, Elon Musk has successfully purchased Twitter and will be taking it private. This is in hopes of alleviating the shareholder agenda as an influence over the product roadmap. In his statement after the purchase, Elon stated that "Authenticating every user" was one of his initial goals. This presents an opportunity for Elon's ideals to be brought to fruition with the technology being built at Sonr.
TBDex: The Tech behind Web5
TBDex is a liquidity protocol being developed internally by the Square team as a means for discovering liquidity and exchanging assets when the existence of social trust is an interactable element of managing transaction risk. TBDex is most famous for recently announcing Web5 two weeks ago. TBdex incorporates a lot of essential verification specifications present in Sonr including Decentralized Identifiers (DID), Verifiable Credentials (VCs), and Identity hubs. With TBDex being the potential candidate for Twitter's new verification procedure (due to Jack Dorsey's involvement in both companies), it's important to assess the drawbacks of its architecture before being set on a choice.
1. Architecture Philosophy
The most glaring problem is the philosophy behind TBDex. The protocol is being designed with existing financial providers in mind and seems flexible enough that developers could integrate existing authentication methods and systems of records. This creates a mechanism where multiple sources dilute the actual verification property of identity. Existing sources are flat-out not designed for decentralized identity in mind and should not be incorporated into the fundamental primitive of the verification mechanism.
2. Phishing
Under the "Risks & Considerations" section for wallets in the TBDex white paper, it states that a hacker could pose as an on-ramp and off-ramp PFI node in order to steal a user's personally identifiable information. Pending code implementation, it is unclear as to how TBDex handles PII in their protocol but as I'll detail later on, there are remedies in place with Sonr to prevent this risk. The bottom line is you can't pose such a considerable risk involving secure assets to wallet developers who are a layer removed from the verification implementation.
3. Reliance on Wallets
TBDex utilizes wallets as the means of generating verifiable credentials, which brings a myriad of problems along with it. Any system which allows users to generate accounts on a whim that are only protected by a small combination of words is not a secure, nor an effective, way to uniquely identify a human being.
Sonr: The Internet Rebuilt for you
The Sonr Team has thought about the problems presented by TBDex in great detail and has uncovered some essential truths that will help mitigate them.
Wallets are features, not products
The fundamental functionality present in most wallet implementations is essentially standard. As market adoption increases, the apps that make wallet interactions an afterthought will be the ones to be able to reach mainstream product-market fit.
You'll always have an infinite number of internet accounts, but only a finite number of devices connected to the internet
Any given internet-connected user will have multiple accounts for email, social media, and other applications. However, the average person will likely replace or purchase a hardware device roughly every two years. Circling back to the drawback of wallets being the credential issuer, the same premise arises here. Is Account for Social Media A as a means for verification really different from Wallet for Blockchain B?
With these two assumptions in mind, we developed the Sonr Identity standard. Sonr implements the same Decentralized Identifier (DID) specification from W3. However, rather than identifying wallets we leverage the user's device as the verifiable credential issuer. We utilize WebAuthN, another W3 specification, in order to generate device biometric-backed credentials that are resolvable by a user-chosen name. Wallets in our ecosystem operate as entities under the user's top-level DIDDocument, with their device being listed as a controller. Additional wallets operate simply as accounts utilized for facilitating transactions.
Based on our assumption that devices are significantly less volatile than wallets and internet accounts in terms of turnover rate. It's safe to say that grouping device-based DIDs into a singular record, verifiable on the blockchain, would be the most efficient method of authenticating and verifying users. In our system, as the number of devices linked to a particular top-level DID increases, the security involved with the user's transactions exponentially increases. The result is a universally credible mechanism for authenticating users.
Moving past verification of users, the Sonr network provides a suite of tools for developers that create a comprehensive user experience. At its core, this includes verifiable Objects, real-time data Channels, and private user storage Buckets.
Consider how apps today pass data between each other, mostly via APIs. Right now the only way a developer can determine what kind of data is returned, is by having the API Documentation right in front of them. Sonr Objects bridge this gap. Objects are the most basic type in the Sonr stack and are completely compliant with Protocol Lab's IPLD spec. With Objects utilizing the IPLD spec it allows for us to provide many different upgrades including a self-contained descriptive model that uniquely identifies any hash-based data structure, protocol independent resolutions, backward compatibility, and unique namespaces for apps built in Sonr.
If Objects are the base unit for how data is defined in Sonr, Channels would be the base unit for how communication between peers functions. Currently on the internet if you want to interact with other peers you will have to use a Client-Server model. A client requests a server to join a Group and the server pretty much handles the rest. Our team realized that every single person in the world essentially has a server in their pocket. Channels leverage the network with this in mind, by making all inbound/outbound communication encrypted and secured at the point of the user's device.
On Sonr, there is no such thing as application-facing user data. All user data is stored on an encrypted bucket located on the Interplanetary File System (IPFS). This data never passes unencrypted through the network, resulting in a completely secure and private experience for end-users. Peers delegate access to their secure content to other applications and users on the Sonr Network.
Closing Notes
Pursuing the goal of authenticating every internet user is a hard task with many ways to fall short. Numerous solutions are being built in the industry, with many incorporating similar core specifications such as Decentralized Identifiers (DID), Verifiable Credentials (VC), and wallet mechanisms. However, Sonr is uniquely positioned based on our holistic approach to be orientated around user experience and elegant design. Our team is currently hard at work implementing additional Architectural Decision Records (ADR) that make the complete vision for the Sonr network possible. We encourage everyone to join our community — together, we can rebuild the internet for you.
For more on Sonr visit us at our homepage, and read our documentation for more in-depth guides. Find the latest updates about our project on our socials.
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CanFilm Five: Author and Canadian Film and TV Critic D.K. Latta — Part 1
Posted on June 28, 2012 by Canuxploitation!
"CanFilm Five" is the Canuxploitation blog's ongoing guest column, which brings together prominent filmmakers, bloggers, critics and programmers to discuss their most loved offbeat Canadian films.
The Masked Movie Critic, otherwise known as D.K. Latta (or is that the other way around?) is a sometimes writer of science fiction and of non-fiction, and a self appointed (and strangely self-important) commentator about, and opiner on, Canadian film & TV and has been for years. His website The Great Canadian Guide to the Movies (& TV) contains capsule reviews of literally thousands of Canadian movies and TV series and, when it started in the late 1990s, boasted it was the most extensive English-language Canadian site of its kind on or off the web. Not that there was a lot of competition for that particular bragging right. It's probably less so now but, hey, he still likes it. It is also associated with his blog — Pulp and Dagger Blog — which is intended to cover a broader range of movie, TV and pop cultural topics, and does…but still tends to focus a lot on Canadian films and TV.
D.K. contributed two excellent lists–this one, and a second one we will be posting shortly. D.K. sez:
Instead of focusing on a best or greatest movie Top 5 list, I thought maybe I'd connect some films — some good, some bad, some indifferent — by their very Canadian modes of mayhem. Yes, Canada may be the land of "Peace, Order and Good Government" but sometimes it has provided a forum for some singularly Canadian forms of murder…or at least, wilful violence. Since it's a top 5, I've had to make choices, just narrowly excluding GINA and its grisly snowplough death, or the creepy wendigo in GHOSTKEEPER. And I'm sure BON COP, BAD COP could fill up half this list by itself. Which brings us to:
TEKWAR (1994)
William Shatner, in collaboration with Ron Goulart, wrote a series of TEKWAR sci-fi novels that were turned into four TV movies, and then became a short-lived TV series. The novels and the TV series were explicitly set in a future United States but, interestingly, in the TV movies it's a more ambiguous North American setting. In the first — and the best — of the movies, called simply TEKWAR, a future-era private eye (played by Greg Evigan) investigates a missing scientist's disappearance. In one scene, the villains fear he's getting too close to the trail and send a killer android after him — a hockey player android that attacks him at a skating rink.
SHADOW OF THE WOLF (1992)
In this film, Lou Diamond Phillips and Jennifer Tilly play a couple of star crossed1930s era Inuit lovers on the run from both their tribe and the white man. An attempt at a big budget spectacle of the kind Canada rarely tries anymore (and maybe this film's poor box office partly led to that) in one memorable scene their igloo is attacked by a ravenous…polar bear! ("Crunchy on the outside, soft and chewy on the inside," as a polar bear described igloos in an old Far Side comic strip). Not the easiest beasties to train, nor much call for them in movies set a little farther south, polar bear attack isn't exactly one of Hollywood's more common cliches!
Cathode Ray Mission: The Original Global Television Network (1974)
CanTV expert Cameron Archer navigates the often inhospitable landscape of Canadian television for the CATHODE RAY MISSION, our regular blog column that highlights some of Canadian television's most offbeat offerings.
Instead of covering a specific cult show, this edition of Cathode Ray Mission will look back at the messy birth of a big Canadian media player–the first three months of programming at the Global Television Network. Global, in 2012, is one of Canada's four major over-the-air broadcasting entities, fighting against CTV, CBC and CityTV for ratings supremacy. But things weren't always this way.
Global was formed by Al Bruner and Peter Hill's Can-Plex Ltd., in 1970. Bruner, a former big band singer, remade his name as an advertising manager for Toronto's CTV affiliate, CFTO. CHCH founder Ken Soble lured Bruner to Hamilton. Bruner built CHCH into a money machine, as the station made huge yearly profits.
Both Bruner and Soble dreamed of a creating third national Canadian network together, until Soble died in 1966. Bruner actually convinced the Canadian Radio-Television Commission to give Can-Plex Ltd. a licence for a regional televised program service. Global was envisioned as a national network, but settled for a studio in Don Mills, Ontario and six retransmitters.
On January 6, 1974, Global held a four-hour special to commemorate its launch. Less than three months later, Global almost died.
The Basic Formula
Global's 1974 debut resulted in 25 original shows — at least, according to Jim Bawden of The Toronto Star. Foreign programming, and feature films from "all over the world," made up the difference.
Here is part of Global's initial 1974 slate. Some shows don't have years attached to them; I couldn't identify when those shows ended.
CAVEAT EMPTOR, a consumer affairs show
EVERYTHING GOES (1974), a talk show. Initially hosted by Norm Crosby, singer Catherine McKinnon became a co-host early in the run. Ken Finkleman, Dan Aykroyd and Martin Short were among its writers
FLICK FLACK WITH WILLIAM SHATNER, a film-related interview series
FOUR FOR ADVENTURE, a travelogue. Four Quebec filmmakers visited South America, talking to Canadians who worked in that continent. Also featured a recipe each episode
GLOBAL NEWS JOURNAL, a public-affairs documentary series
GLOBAL POST, a five-minute business update
MY COUNTRY, where Pierre Berton talked about…well, his country
SHHH! IT'S THE NEWS (1973?-74), a satirical news show produced by Don Harron. Harron, Catherine McKinnon, Patrician Anne McKinnon, Barbara Hamilton, Jack Duffy, Bill Luxton, Les Lye, Howard Jerome Gomberg, Geoff Scott, Barry MacLoughlin and Ken Shaw were the castmembers. Gordon Pinsent and Billy Van made guest appearances
SUNDAY NIGHT HOCKEY, which televised Toronto Toros WHA games. Peter Gzowski and Ken Dryden (yes, that Ken Dryden – Dryden sat out the 1973-74 NHL season) were involved with the initial broadcasts
THE BRADEN BEAT (1974), an "on your side" consumer affairs show hosted by Bernard Braden
THE CANADIANS, a Stanley Burke-hosted show about the lifestyles of famous Canadians
THE GREAT DEBATE (1974-?; 1983-84 on CHCH), where Pierre Berton and others debated controversial topics
THE WORLD OF WICKS, an interview show hosted by cartoonist Ben Wicks
THIS PROGRAM IS ABOUT SEX (1974), with Dr. Sol Gordon
WHAT'S HIS NAME?, a game show where Catherine McKinnon, Don Harron and Jack McClelland attempted to guess the identities of famous Canadians
WITNESS TO YESTERDAY (1974 on Global; 1974-75? on TVOntario; 1998 on History Television), where broadcaster Patrick Watson "interviewed" an actor playing a major historical figure
The Weird Bits
Global initially disdained local advertising, and allowed only eight minutes of commercial air time. The point of the program service was not to be local. Many of Global's original shows were made by independent producers, in an effort to keep costs low. Global aired news updates between programs, which was a new concept at the time.
SHHH! IT'S THE NEWS had a distinct Ottawa flavour, which wasn't suprising, given that it was the brainchild of Bushnell Communications executives Stu Griffiths and Roy Fabish. Bushnell Communications, at the time, owned CJOH. SHHH! IT'S THE NEWS was initially a CTV pilot; Global, desperate for content, bought the show's rights.
There was a faint whiff of nepotism in SHHH! IT'S THE NEWS — Don Harron was married to Catherine McKinnon. Patrician Anne McKinnon, though an actress and singer in her own right, was Catherine McKinnon's sister. In addition, Bill Luxton and Les Lye were well-known for WILLY & FLOYD (CJOH/syndicated, 1966-88). SHHH! IT'S THE NEWS was a CJOH show in drag.
Here's to a Full-Tilt Summer
CanFilm Five: Programmer and Filmmaker Dion Conflict
Dion Conflict is Toronto-based film historian/film maker/programmer. From its beginning showing film prints in the back room of Toronto Queen Street haunt The Rivoli , his CONFLICT ARCHIVES celebrates its 20th year of putting neglected celluloid back on the screen with eclectic programs that have entertained audiences not only in Canada, but also the United States, Estonia, and Finland (where one of his screenings clobbered Tarantino's GRINDHOUSE). Dion is the man behind many film screening series including Hunka Junk, Midweek Mondo Madness, Trailer Trash and, most recently, SHOCK AND AWE, the all-night Grindhouse film fest showcasing 16mm and 35mm film prints unseen on any big screen in Canada in decades. The latest SHOCK AND AWE marathon screens at Toronto's Revue Cinema on June 23, 2012 and will include SLEEPAWAY CAMP, RAPPIN', HORROR HOSPITAL and more (see Dion's blog for more details and ticket info).
Dion is also the founder of the world's first 24 hour online streaming video superstation (Paxels) which not only included 50% original content and ran endless short films, music videos, interviews, films, seminars and sports. Currently, Dion is developing his feature film script (a comedy) and speaking with other production companies and producers. He notes, "If I could have ideal casting for the project, it would have Boris Kodjoe, The Situation, Ron Jeremy, Tyler Medeiros, Canadian Ben Johnson, and Men Without Hats on the soundtrack."
Dion sez:
As a kid, and still today, one of my favorite cartoons is DAVY AND GOLIATH, the claymation religious cartoon with young Davey (wearing his checkerboard shirt which looks like it was made from a tablecloth at a Big Boy Restaurant) and his dog Goliath. They usually would get into some adventure where something goes wrong. Goliath would kinda egg the kid on, and his sister Sally would snitch. Davy's Dad would go "Did you learn something Davy?" Davy would reply and God would also be thrown in the equation.
You don't need to watch DAVY AND GOLIATH to learn some valuable life lessons, or listen to a Play-Doh dog egg you on to get in trouble. All of the most important lessons I have learned in life have been from Canadian cinema. Here's my top five most valuable life lessons from Canadian film.
LE PARTY (1991)
When I went to Montreal to screen "Dion Conflict: Trailer Trash", I told the audience that the best Canadian film ever was from Quebec was LE PARTY, a statement that made the audience both gasp and laugh at the same time. The late Pierre Faladeau made this trashy little opus about a travelling troupe of "entertainers" doing their annual show at a Quebec prison–including a drag queen singing about his/her mother, a magician (who complained about working for the CBC and a fibreglass factory), a Francophone country singer belting out a song about penetration, a comedian named Leo with terrible jokes, and not one, but two strippers (and one fake leopard skin/rug). While the show goes on, there's plenty of copulation, contraband drug use, and crying. The band "Rapid Fire", looking like a Trooper cover band, plays on while the prison officials look away. LE PARTY is so friggin awesome, I could talk about it endlessly, but I would rather you see it and agree with me that it's the best Canadian film ever.
LIFE LESSON LEARNED: If you have to get thrown in the clink in Canada, INSIST it is in Quebec.
ODDBALLS (1984)
It ran endlessly on First Choice Pay TV (before the crappy merger with Superchannel, and not the new one) and I would watch it every time. Chris (Wally Wodchis) ends up getting shipped off to "Camp Bottom Out" where owner Hardy Bassett (a fairly sauced Foster Brooks) considers selling until his grand-daughter convinces him to give the summer camp a chance. Can Mr. Skinner and his goofy son Chadwick sabotage the camp's success in order to turn the camp into a shopping mall? ODDBALLS is filled with tons of gags (complete with goofy sound effects) as Chris and the boys are endlessly looking to get laid. Funny because most of them look like they are not old enough to have a wet dream (and it's an all-boys camp). You find yourself groaning so much at the gags, that it ends up being somewhat funny. ODDBALLS might be the Maury Povich BABY DADDY offspring of MEATBALLS.
LIFE LESSON LEARNED: Not everyone in Southern and Central Ontario will sell their land for shopping malls or condos.
Cathode Ray Mission: YOU CAN'T DO THAT ON TELEVISION (1979)
For this column, we've decided to do something a little different and look at a Canadian TV show that straddles the line between "cult" and "mainstream hit." Mainstream hits are obviously not Canuxploitation, and YOU CAN'T DO THAT ON TELEVISION (CJOH, 1979; CJOH/CTV/Nickelodeon, 1981-87, 1989-90) was a mainstream cable hit in its day. The show is most fondly remembered in its half-hour format on Nickelodeon. It was literally the primordial slime from which Nickelodeon was born.
What some YOU CAN'T DO THAT ON TELEVISION fans don't remember is the show's formative years, as an hour-long Saturday morning variety hour. Early YTV viewers might be familiar with WHATEVER TURNS YOU ON (CTV, 1979), YCDTOTV's half-hour primetime variant.
YOU CAN'T DO THAT ON TELEVISION takes its cues from ROWAN AND MARTIN'S LAUGH-IN (NBC, 1968-73) — short sketches, catchphrases, recurring characters, and heavy repetition. What sets YOU CAN'T DO THAT ON TELEVISION apart from LAUGH-IN is its casual contempt for authority, and its insistence that child amateurs perform the comedy. Les Lye, the sole adult male castmember, appears in all incarnations of YOU CAN'T DO THAT ON TELEVISION/WHATEVER TURNS YOU ON.
Viewers who watched Nickelodeon and/or CTV in the 1980s likely know what the show's sketches are like. Nickelodeon's signature slime comes from YOU CAN'T DO THAT ON TELEVISION. If I type the words "Barth's Burgers," readers of a certain age will likely wonder what Barth puts in them.
A Dixieland jazz arrangement of "The William Tell Overture" identifies YCDTOTV, the way "The Liberty Bell" identifies MONTY PYTHON'S FLYING CIRCUS (BBC1, 1969-73; BBC2, 1974 as MONTY PYTHON). Other elements ganked from MONTY PYTHON'S FLYING CIRCUS include the Terry Gilliam-esque opening credits, a public-domain theme song, and that casual contempt for authority.
The 1979 and early 1981 versions of YOU CAN'T DO THAT ON TELEVISION barely resemble the Nickelodeon version. CJOH originally formatted the show as a variety hour — sketches, disco dances, call-in contests, live transitions, and "music videos" of various origins. Video game competitions took the place of the disco dances, in 1981.
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Rated C
"Rated C", Canuxploitation's blog, looks at the people and personalities that are embracing Canadian B-films and helping change the prevailing film culture in Canada. Check here for site news, DVD updates, interviews, events, and guest blogs.
Motion Picture Purgatory: THE KILLING MACHINE (1994)
Motion Picture Purgatory: KINGS & DESPERATE MEN (1981)
Rue Morgue TV: SPASMS
Motion Picture Purgatory: MANIA (1986)
Rue Morgue TV: SPLATTER, ARCHITECTS OF FEAR
Review: Paradise (1982)
Review: Voodoo Dolls (1990)
Review: Replikator (1994)
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Scottsdale set it off! We started the day off by going to a stunning national park and having a cookout and chasing lizards. The boys got naked and ran around in the desert and I took pictures of that. After avoiding heat stroke we drove to the venue and Pup Rock did not let us down. The venue had a sick stage and a real dressing room. Some old friends of Chris's showed up and we all chilled. All in all a solid night!


Estimating the cost of a divorce or family law matter can be a challenge. Hiring a divorce or family law attorney requires a non-refundable retainer fee to be paid at the inception of the case. In Law We Trust, P.A.'s initial retainer fees range from $4,000.00 to $12,000.00, depending largely on the complexities of the case.
The factors the Firm considers for the retainer amount include, but are not limited to: (a) whether the matter is a paternity action or divorce, and if there is a relocation to be sought, (b) whether there are children involved; (c) the assets/liabilities involved; (d) the anticipated level of conflict; and (e) the County of jurisdiction. It can be nearly impossible to accurately predict how much work will go into the case before it's over, but an in-office consultation allows us to assess and estimate costs for you before the work begins.
No litigation ends until both parties agree to settle all issues or until the judge rules after the trial. This is true whether your case is a divorce, custody, modification, or contempt, and so on. There is a wide spectrum as to when in the process a case will settle. You know more than anyone how reasonable the other party will likely be, and how likely she will engage in a cooperative and constructive manner. You will also likely have a sense of whether we should expect urgent issues requiring immediate and substantial work. So many potential variables result in a wide range of potential cost.
We've learned a lot about what it takes to resolve cases. Some clients prefer to stick with the traditional model of paying a retainer and then working off it on an hourly basis, paying the same rate for all work done on the file. Others prefer the certainty of flat fees, knowing they'll pay a set amount and no more. We realize hiring a lawyer is a big decision and expense. We want you to be satisfied. One important factor in your satisfaction is whether you feel you got a good deal. So, read on and give meaningful thought to which fee structure makes the most sense for you.
This is the traditional way people hire lawyers and it may be the right fit for you. With this model, you start the representation by making an initial, non-refundable payment, called a "retainer," when you sign your agreement hiring the firm. To determine your initial retainer payment, we estimate the work that will likely need to be done in the first few months of the representation. Some cases are easier to estimate than others.
There are many factors impacting the attorney time necessary on a divorce or family law case. We've handled enough cases to develop a flat fee pricing formula. No matter the issues in your case, we're likely capable of formulating a flat fee for you to consider. The relevant factors in our calculation include, but are not limited to the case type, the contested and uncontested issues, whether the cases have already been filed and what additional events are necessary to get the case resolved, either by settlement or trial.
Regardless of whether you hire an attorney, it's important that you consider the other costs associated with a divorce or other family law case. Most case types require that you pay a filing fee and cost of the summons to the clerk of court. Most cases also require personal service of process. The rest of your expenses will coincide with the discovery you do and the professionals you hire to assist with the case. If you take a deposition, for example, you'll incur the court reporter's fee. You'll also incur charges for the deposition transcript, typically billed by the page. If you send a records request to a third party, such as a bank, that party will likely charge you for the work in compiling the records.
This is undoubtedly the question you're asking. To determine the answer, we need to know more about the case. To schedule a consultation, call our main office number at 813-415-3510 or complete the contact form on this page.


text:
Q: GoLang PoS Tagger script taking longer than it should with no output in terminal This script is compling without errors in play.golang.org: http://play.golang.org/p/Hlr-IAc_1f
But when I run in on my machine, much longer than I expect happens with nothing happening in the terminal.
What I am trying to build is a PartOfSpeech Tagger.
I think the longest part is loading lexicon.txt into a map and then comparing each word with every word there to see if it has already been tagged in the lexicon. The lexicon only contains verbs. But doesn't every word need to be checked to see if it is a verb.
The larger problem is that I don't know how to determine if a word is a verb with an easy heuristic like adverbs, adjectives, etc.

A: (Quoting):

I don't know how to determine if a word is a verb with an easy heuristic like adverbs, adjectives, etc.

I can't speak to any issues in your Go implementation, but I'll address the larger problem of POS tagging in general. It sounds like you're attempting to build a rule-based unigram tagger. To elaborate a bit on those terms:

*

*"unigram" means you're considering each word in the sentence separately. Note that a unigram tagger is inherently limited, in that it cannot disambiguate words which can take on multiple POS tags. E.g., should you tag 'fish' as a noun or a verb? Is 'last' a verb or an adverb?

*"rule-based" means exactly what it sounds like: a set of rules to determine the tag for each word. Rule-based tagging is limited in a different way - it requires considerable development effort to assemble a ruleset that will handle a reasonable portion of the ambiguity in common language. This effort might be appropriate if you're working in a language for which we don't have good training resources, but in most common languages, we now have enough tagged text to train high-accuracy tagging models.

State-of-the-art for POS tagging is above 97% accuracy on well-formed newswire text (accuracy on less formal genres is naturally lower). A rule-based tagger will probably perform considerably worse (you'll have to determine the accuracy level needed to meet your requirements). If you want to continue down the rule-based path, I'd recommend reading this tutorial. The code is based on Haskell, but it will help you learn the concepts and issues in rule-based tagging.
That said, I'd strongly recommend you look at other tagging methods. I mentioned the weaknesses of unigram tagging. Related approaches would be 'bigram', meaning that we consider the previous word when tagging word n, 'trigram' (usually the previous 2 words, or the previous word, the current word, and the following word); more generally, 'n-gram' refers to considering a sequence of n words (often, a sliding window around the word we're currently tagging). That context can help us disambiguate 'fish', 'last', 'flies', etc.
E.g., in

We fish

we probably want to tag fish as a verb, whereas in

ate fish

it's certainly a noun.
The NLTK tutorial might be a good reference here. An solid n-gram tagger should get you above 90% accuracy; likely above 95% (again on newswire text).
More sophisticated methods (known as 'structured inference') consider the entire tag sequence as a whole. That is, instead of trying to predict the most probable tag for each word separately, they attempt to predict the most probable sequence of tags for the entire input sequence. Structured inference is of course more difficult to implement and train, but will usually improve accuracy vs. n-gram approaches. If you want to read up on this area, I suggest Sutton and McCallum's excellent introduction.

A: You've got a large array argument in this function:
func stringInArray(a string, list [214]string) bool{
    for _, b := range list{
        if b == a{
            return true;
        }
    }
    return false
}

The array of stopwords gets copied each time you call this function.
Mostly in Go, you should uses slices rather than arrays most of the time. Change the definition of this to be list []string and define stopWords as a slice rather than an array:
stopWords := []string{
    "and", "or", ...
}

Probably an even better approach would be to build a map of the stopWords:
isStopWord := map[string]bool{}
for _, sw := range stopWords {
    isStopWord[sw] = true
}

and then you can check if a word is a stopword quickly:
if isStopWord[word] { ... }

redpajama_set_name: RedPajamaStackExchange


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Garden to Plate: How School Feeding Empowers Children in Rwanda
By supporting schools, the United Nations World Food Programme (WFP) boosts both health and literacy in rural areas.
Education is everything for Francine, a mother of three from Ruhinga village in southern Rwanda. Despite the area still having a staggering 48 percent rate of stunting (impaired growth and development that children experience from poor nutrition), residents have witnessed improvements over time. This gives them hope that their children will have a brighter future.
Francine's children impress her with their knowledge of English and their reading skills.
"When I was little, the school was quite far away so we could not always go, but now my children's school is just around the corner," said Francine. This makes it easier for families like hers to prioritize education.
Her two youngest sons, 9-year-old Donat and 13-year-old Lambert, are served by the U.N. World Food Programme's home-grown school feeding program (HGSF), which provides schoolchildren with a daily nutritious meal.
Donat enjoys a U.N. World Food Programme-supplied school meal with classmates.
The U.N. World Food Programme also provides the schools with reading materials, guidance on good nutrition and help to establish kitchen gardens; all geared to improving the students' health and education.
"My parents are both farmers and spend most of the day working in the fields," said Lambert. Recalling life before the program five years ago, he added: "When I was little and before there were school meals, I would come home from school for my midday break feeling hungry but there wasn't anything for me to eat. This left me low on energy and I didn't feel like going back to school in the afternoon."
"Now that I have lunch at school, it is easy for me to finish the whole day as I am not concentrating on my hunger. The school meals are also delicious."
The school has its own garden where ingredients for the school kitchen are grow so children can also learn how to grow vegetables. Seedlings are provided to families of the surrounding community to encourage them to diversify the crops they grow. Lambert has helped his family establish a flourishing garden at home.
"We learn a lot about the importance of having a variety of colors in our meal to be healthy," said Lambert.
But it's not just about ensuring there is adequate healthy food. The U.N. World Food Programme has connected the school to a water supply which benefits not only the students but the wider community too. Permanent hand-washing facilities are now available so the community and families no longer have to walk long distances to gather water.
"We used to travel deep into the valley to get water – carrying it back up the mountain. My children used to have to help me with this task. Often, they would be late for school due to the distance but now there is no need to do that," said Francine. "This has greatly improved our quality of life and my children can focus more on their studies."
Reading materials have been produced from stories developed from the surrounding communities to help further improve the children's literacy skills.
"I am so proud of my reading skills and I like to read stories to my mum," said Donat. "I know I need to study hard because when I grow up, I want to be a teacher or a doctor."
"Early results from the program show that it is having the desired outcomes," said Amy Blauman, the U.N. World Food Programme's education adviser. "Student attendance has increased to 92 percent and student reading comprehension increased from 49 to 78 percent."
The U.N. World Food Programme's HGSF program supports the Government of Rwanda in providing daily nutritious school meals and complementary activities to 79,000 primary schools students in 108 schools in four of the most vulnerable and hungry districts across the country. The program is possible thanks to the generous support from the United States Department of Agriculture (USDA) and Mastercard.
The U.N. World Food Programme's school meals programs are just one of the ways we're fighting back against childhood hunger. Send a meal to a hungry child today.


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text:
Have a Dating Service and Smile.
By Takazahn | 22.10.2018
Opinion kate beckinsale dating 21 yr old good
Kate Beckinsale Dating 22 Year Old Matt Rife
Kate Beckinsale was in for quite the surprise after she gave fans an update of her ruptured ovarian cyst, which in turn made headlines. Taking to the red carpet, the likes�. Like many parents, Michael Sheen went through highs and lows when his year-old daughter Lily went off to college. The actor, who shares his only�. The daughter of Kate Beckinsale, 43, and her ex-partner Michael Sheen wowed�.
Kate Beckinsale was every bit the proud mum this week as she celebrated her daughter Lily's 18th birthday. The year-old Underworld actress�.
Kate Beckinsale recently opened up about her "punishing" exercise regime. And the star is certainly not scared to show off the results of her�.
Kate Beckinsale Dating 21-Year-Old Comic Matt Rife
The Academy Award nominations are just around the corner, and we're naturally excited to see a few of our favourites get recognized for their work. Kate Beckinsale has opened up about her diet and fitness regime, revealing exactly what it takes to get her honed physique.
The actress, 43, is the�. Despite going their separate ways 13 years ago, there's no denying Kate Beckinsale and Michael Sheen have remained close.
This week, the couple were�. Kate Beckinsale and her husband Len Wiseman are officially ending their marriage. Director Len filed for divorce from the actress on Friday, citing�. Kate Beckinsale embraced her fun and flirty side this week, as she shared a playful photo from her bathtub on Instagram. Kate Beckinsale and her former partner Michael Sheen have recalled the moment their daughter Lily was born in a hilarious new Instagram snap.
EXCLUSIVE: Kate Beckinsale Dating 21-Year-Old Actor Matt Rife: See Their Steamy PDA!
Kate Beckinsale's wedding ring was noticeably absent as she took to the red carpet in London on Monday night for the British Fashion Awards. We use our own and third-party cookies to improve our services and show you related advertising with your preferences by analyzing your browsing habits and generating the corresponding profiles.
If you go on surfing, we will consider you accepting its use. They welcomed their twins into the world in June The year-old reality star has been dating her year-old boyfriend since The year-old actress married the year-old basketball star in September The year-old Queen of Pop dated the year-old choreographer for a few months in The couple now have two sons together. The year-old comedian has been dating the year-old since Take me out to the ballgame The hot couple tied the knot in and have since welcomed two baby girls.
The Mary Poppins star wed his personal makeup artist on Leap Day of The two had met six years earlier at the SAG Awards, where the veteran actor was "bowled over by her beauty.
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Clooney dated the former WWE wrestler for several years. However, they split in This couple flew mostly under the radar during their two-year courtship, but the former House star and her Arrested Development funnyman announced their engagement in August After nearly six years and two kids, McConaughey popped the question to the Brazilian model on Christmas day. These True Blood stars, married since , are still going strong.
Kate Beckinsale - From Baby to 43 Year Old
Maybe the old saying is true: The couple who fights werewolves together, stays together. Not only is the Roxy Music pop star's wife significantly younger than he is, she also turns out to be his son's ex-girlfriend The actor was linked to Vincent D'Onofrio 's daughter in Jenny from the Block dated the back-up dancer for several years, and after breaking up and getting back together a couple times, they split for good in The singer married the much-younger Venezuelan in However, they filed for divorce in Talk about a love match!
The 30 Rock star married the fitness expert in Their summer romance took the world by storm in He is very mature for his age and is a great guy. Another source told People magazine that Rife has an "old soul" and so far has proven to be a good match for the action-film actress. She looks amazing and keeps getting lots of male attention. She has been seeing Matt for the past few weeks. She really seems to like him.
She refers to him as an old soul. There is obviously a physical attraction too. The age different doesn't matter to her.
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text:
Aural Evolutions
Sound Installations
Releases and Publications
About Efthymios
Tim Chatzigiannis is a Greek composer and sound artist based in Oxford. He got involved with music at a very early age and throughout his career he has studied, and performed, various genres and styles. At the age of 6 he began studying classical piano at the Municipal Conservatory of Ioánnina. At 13 he took up the electric guitar and began his studies at the Conservatory Fillipos Nakas focusing mainly in rock, blues and jazz, and started performing regularly with various rock/blues bands.
In 2005 he completed a BA program in Music at the Anglia Ruskin University, in Cambridge. In 2007 he completed an MA in the Interdisciplinary Arts and Practices specializing in Composition and Sonic Art at Oxford Brookes University, where he also completed a PhD study entitled: Aural Evolutions: Intersections of Sound with the Physical Space. This study focuses on the creative possibilities of acoustic phenomena, and the meeting points of sound with the physical dimension.
Tim is producing sound installations and compositions that explore the phenomenology of sound, and exploit physics in order to manipulate sound. He creates audio/visual sculptures that deal with particular aspects of the physics of sound. Subtle, almost imperceptible phenomena are amplified and brought forth in order to explore the way sound interacts with the environment that surrounds it, but also the way that our perception of this environment is shaped by the alterations in the sound.
He is also active in the composition and performance of electronic music and his main interests are real-time digital audio processing, programming new audio/visual performance interfaces, and composing for film and various digital media. He regularly employs music technology and real-time audio manipulation in improvisations, live concerts, and in the studio using various DAW's and plug-ins. His work has been performed and exhibited in the UK, Greece, Holland, Germany and Brazil.
photo by Pier Corona
© 2019 Efthymios Chatzigiannis


text:
Criminal Activity Likely Not The Cause Of Notre Dame Fire, Preliminary Report Finds
(GEOFFROY VAN DER HASSELT/AFP/Getty Images)
Alexa Secrest Contributor
Criminal action likely did not spark the April 15 fire at Notre Dame Cathedral in Paris, a preliminary investigation found.
The Parisian prosecutor's office said other potential causes, like a lit cigarette or faulty electrical wiring, were not ruled out, The Associated Press reported.
Paris prosecutor Rémy Heitz opened an investigation into negligence as a possible cause, according to Reuters.
In the aftermath of the flames, Parisian police found seven cigarette butts on site. The Paris prosecutor's office clarified that no single individual will be targeted in the newly opened investigation into on-site negligence. (RELATED : Facebook To Give French Judges Identifying Data Of People Suspected Of Hate Speech, Official Says)
Despite the considerable damage, the most important artifacts, such as the Crown of Thorns, were not lost in the fire.
In the immediate aftermath, President Emmanuel Macron announced a five-year restoration plan for the Notre Dame Cathedral, a cause that has quickly procured almost $1 billion in donations.
The contributions have incited backlash, like from those associated with France's labor protesters.
"If they can give tens of millions to rebuild Notre Dame, then they should stop telling us there is no money to help with the social emergency," Philippe Martinez, head of the CGT trade union, told The Washington Post.
Tags : france notre dame paris
Alexa Secrest
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'Fist Bumps And High Fives': Kellyanne Conway Blasts Pelosi For 'Embarrassing' Impeachment Souvenir Pens
Reporter Who Didn't Speak English Approached LSU's Football Coach. What He Did Next Was Incredible
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Harrah's began its process of taking over the property in December 2009 by purchasing some of the resort 's debt.
"Dazzling Aladdin Debuts Thursday".Milton Prell purchased the hotel in January 1966 and began an extensive 3 million renovation of the property before reopening it as the Aladdin on April 1, 1966.Construction of the high-rise was expected to begin later in the year.King's Crown Tally.A large group of investors owned the remaining stock.7 Simultaneously, county officials discovered that the three-story stucco hotel may be in violation of fire codes.Eden's speech as well as the other festivities were drowned out by the bullhorns and the rest of the protest.
A little more than a year after it was opened, the Aladdin was host to Elvis and Priscilla Presley 's wedding.A b "Parker Named Tallyho Theatrical Head (page one."Aladdin show to draw crowd".In January 1994, businessman Donald Trump considered purchasing the Aladdin for 51 million, although Bell Atlantic-Tricon declined to sell the property for less than 60 million.Newton sold his share to Torres 21 months later.There is valet and self-parking.Neil Diamond performing at the Aladdin Theatre for the Performing Arts on July 2, 1976 wizard spell slots The Aladdin celebrated the grand opening of their new " Aladdin Theatre for the Performing Arts " with singer Neil Diamond being paid 650,000 for four shows; July 2 through.45 Renovations totaling 750,000 were completed in August 1969, which included making the Sinbad Lounge enclosed and leveled above the casino floor with Arabic motif.At the time, the resort consisted of a 1,000-room hotel and a 37,000 square-foot casino.
2 3 Lowe, who believed that there were some Las Vegas tourists who were not interested in gambling, chose not to add a casino to the Tally.
"Aladdin Hotel: Trump Says He Won't Buy Vegas Casino ".


text:
Q: Raster clipping error with GRASS I'm using GRASS 7.6 to clip a raster (i.e. big_raster) layer on a smaller one (i.e. small_raster).
Both the rasters are made by nan and 1 values.
I used the map calc tool
r.mapcalc expression="raster_clipped = if( "small_raster@PERMANENT" , "big_raster@PERMANENT" )"

Why do I get this error?
Invalid map <"small_raster@PERMANENT">
Parse error
ERROR: parse error
Traceback (most recent call last):
  File "/usr/lib/grass76/gui/wxpython/gui_core/goutput.py",
line 473, in OnCmdOutput

self.cmdOutput.AddStyledMessage(message, type)
  File "/usr/lib/grass76/gui/wxpython/gui_core/goutput.py",
line 771, in AddStyledMessage

self.AddTextWrapped(message, wrap=None)
  File "/usr/lib/grass76/gui/wxpython/gui_core/goutput.py",
line 720, in AddTextWrapped

txt = EncodeString(txt)
  File "/usr/lib/grass76/gui/wxpython/core/gcmd.py", line
99, in EncodeString

return string.encode(_enc)
UnicodeDecodeError
:
'ascii' codec can't decode byte 0xe2 in position 27: ordinal
not in range(128)

A: Two things:
1-You have unnecessary quotes in your expression. No need to quote the map names. So:
r.mapcalc expression="raster_clipped = if( small_raster, big_raster)"

2-However,I think this is not what you want. This expression will not clip your big raster. You will get a new raster of the same size with values only where the small raster is not null. If you want to clip, then set the region to the small raster and then a simpler mapcalc expression:
g.region -p rast=small_raster
r.mapcalc expression="raster_clipped = big_raster"


Cory Rogers heads up our Energy Efficiency Division as well as working across the exciting new market of E-Mobility in the UK and internationally.
He works on roles pertaining to Electric Vehicles, Charging Solutions and other forms of E-Mobility and has built an unrivalled network of candidates and clients within the sector.
Cory is a graduate of the University of Bournemouth.


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Microcopy, instructional copy, and labels. Little bits of information are making or breaking the user experience of your website or application. Microcopy is there to explain what a setting does, aid users filling out a form, and explain complex interactions. Well-written microcopy guides users, and poorly written microcopy confuses and frustrates them.
Microcopy can be the achilles heel of an otherwise excellent design.
Verbose instructions are more difficult to understand than concise instructions. Remember, there is a reason it's called microcopy. Users don't want to read long instructions on how to complete a single task.
If you can't explain it simply, you didn't design it well enough.
I recently completed a project where I did user testing for a web app. During testing I found that most of the usability problems were due to the copy.
In one instance, 3/5 of the users interpreted one line of copy in a way that wasn't its intended purpose. This line was asking users to make a decision, so they were making decisions based on bad copy.
You can gain insight into how people are interpreting the copy by testing on actual users. Encourage users to think out loud as they complete tasks and you'll learn a lot about your copy from what they say. Revise your copy based on insights gained in testing, then continue to test and revise.
Be sure to write labels for people. Labels should be in plain language and not technical jargon.
Sometimes, there is a tendency to let the programmer label things as they build the site. If they're focused on the technical implementation, the labels could end up looking like database architecture. This is why labels should be specced out before the programmer starts to build, or at least along side each other. The labels should define the database architecture and not the other way around.
Button labels should be the action the user will take by clicking on it.
Buttons that say "OK", "Next", and "Submit" are not clear and will cause doubt to creep into the user's mind.
Buttons that say "Save Settings", "Place My Order", and "Login" do a better job of conveying the action the user will take by clicking on the button.
These are answers to common questions that shoppers have shopping online.
User testing is a great way to find out what kind of questions users are asking. I recently did a testing session with a user that was adjusting settings. There was a checkbox that had copy explaining what the box did when checked. But as the user thought out loud, she asked what would happen if she didn't check the box, which was a great question I didn't think of on my own.
Search engine optimization (SEO) is critical to designing websites. It can be tempting to try to insert keywords anywhere possible, but be careful not to sacrifice clarity for SEO.
Content should be written for people, not search engines, or you run the risk of over optimizing. Inserting keywords everywhere isn't natural and leads to difficult to understand copy, even most SEO professionals in 2015 would agree with that.
The good news is that it's not an either-or proposition, you can make well-written content that ranks high in search engines.
A common mistake is to show the user everything at once and write a lot of "If" statements in the copy. A better way is progressive disclosure.
If you show unnecessary information all at once, you will clutter your UI and strain your users' cognitive load with unnecessary information.
Instead of showing every field and message at once, show them only when the user enters a state where it becomes necessary.
A classic example is the "Other" field on forms. The Other field is usually paired with something like a "How did you hear about us?" select box field. It's not necessary to show the Other field unless the user selects "other" in the select box.
Error handling is usually one of the finishing touches on a project—if it gets any attention at all. Sadly, there is a lot of poor error handling out there.
How many times have you run into an error message that spits out technical jargon? Or quirky unhelpful 404 pages? Or times where you knew there was an error but you're not sure how you got there?
The first step is to prevent errors wherever possible. Errors shouldn't occur because of a problem with the design or architecture. Then, when you have figured out all the possible errors, make sure to write error messages that tell the user how to recover.
I did support for hundreds of websites in the beginning of my career. One of the things I learned was when a client contacted me to say something was hard to use, usually the wrong thing to do was to add instructions to the UI. This can be a sign that something is wrong with the design, and a bad design with instructions is no better off.
Stop and think if there is a way to make the design speak for itself if you're writing a lot of instructional copy on a UI.
Keep these 9 principles in mind as you design. It can help save everything from small marketing websites to highly interactive web apps.
If you have more to add, please let me know!
February 2014 The Ambiguous Hamburger Icon: Is the Icon Mystery Meat to Users?


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text:
long overjew
Let's laugh at some Jews. I don't mean in a Holocaust-y kind of way, merely at the ridiculousness of some of their more outlandish religious practices.
You'll recall my unseemly chortling over the kosher telephone, the kosher light switch, the kosher lift and the kosher fridge. Well, here's a rather more public display of hilariously unreflective obedience to authority, however barking that authority's rulings may be: a bloke sealing himself inside a plastic bag on a plane.
An over-cautious approach to on-plane hygiene, you might think, or perhaps it was just that he wanted to ensure not a single morsel of airline food would pass his lips. But no, it's nothing as sensible as that; apparently certain ultra-Orthodox Jews are so pure that they will be irredeemably tainted by proximity to a cemetery. And not just any form of proximity, this is strictly vertical proximity we're talking about here. You can sidle up as close as you like in terms of horizontal separation, right up to the boundary fence, and you'll be fine, but even if you're 35,000 feet above it you'll be tainted. Look, I've drawn you a picture.
So the critical thinkers in the audience will be asking the following sorts of questions:
What form does this impurifying agent take?
How might we detect it?
Why does it only spread vertically and not horizontally?
Does it go down or only up? What if you were in a Tube train under a cemetery?
Why does the plastic bag stop the zombie voodoo but six feet of earth, 35,000 feet of air and the aircraft superstructure doesn't?
How would you tell, after the fact, if you or someone you were with had become impure owing to unwitting exposure to cemetery-based tainting? Is there a test?
Is there really anything about intra-aircraft impurity security in the ancient scrolls?
What I really love about this is that the answer to the last question is clearly "no", so you (as an orthodox Jew) need to rely on the teaching and interpretation skills of your local rabbi. In this case the rabbi, one Yosef Shalom Eliashiv, came up with the plastic bag solution after some serious thought and just making a whole bunch of stuff up at random, as follows:
Rabbi Yosef Shalom Eliashiv, the leader of the Lithuanian Haredi community in Israel, published a halakhic ruling in the past stipulating that Cohens mustn't fly in this plane because they are prohibited from flying over a cemetery. Later, Rabbi Eliashiv found a solution to this issue, ruling that wrapping oneself in thick plastic bags while the plane crossed over the cemetery is permissible.
So basically in the absence of anything in the Torah that says Thou Shalt Not Fly In A Plane Over A Cemetery he just pulled something out of his arse.
There does seem to be a bit of previous for all this stuff in modern Judaism, though. If you've ever encountered the concept of an eruv then you'll be forced to marvel at the ingenuity of modern Jews in subverting the supposedly unquestionable tenets of their whole religion. It is amusing to the non-believer, though, to see the utterly ridiculous contortions the devout will go to to be able to still live and do stuff that they need to do while obeying some squinty-eyed version of the letter of the law of their own particular brand of idiocy, while ignoring the most obvious solution to the problem, which of course is to abandon the idiocy altogether.
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Labels: Jesus H Christ
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