text:
SPILL NEWS: NEW ALBUM FROM MR. LIF FT. DEL THE FUNKY HOMOSAPIEN + EDAN | OUT APRIL 15 ON MELLO MUSIC GROUP
SPILL ALBUM REVIEW: THE SUFFERS - THE SUFFERS
SPILL NEW MUSIC: LIBRARY VOICES RELEASE NEW VIDEO "SLACKER"
NEW ALBUM FROM MR. LIF FT. DEL THE FUNKY HOMOSAPIEN + EDAN
OUT APRIL 15 ON MELLO MUSIC GROUP
Mello Music releases Don't Look Down, the exciting new album from acclaimed Boston emcee Mr. Lif on April 15th. Listen to Lif rap over psychedelic instrumentals and world beats that sound almost like you're in the middle of a Persian market place on his new single "Whizdom."
Mr. Lif reveals, "When Edan played me the beat for "Whizdom", it spoke to me. I wrote the rhymes while traveling through the UK. Captured the vocals through a golden mic that emanates warm blue light. An extraordinary experience indeed."
Mr. Lif gained national attention nearly two decades ago when he caught the attention of hiphop label Definitive Jux after leaving Colgate University. He was soon siting in apartments & studios making music with El-P, Aesop Rock, Edan and a slew of other wunderkinds. His debut release, I Phantom reignited the fire for socially conscious and politically aware Hiphop. Mr. Lif went on to become one of Hiphop's best known live performers and concept album creators.
In 2010, Lif's beloved studio flooded and he went silent on the solo artist tip. But, far from being inactive, he had teamed up with super-group Thievery Corporation. And, after creating the title track "Culture of Fear" for their album, began touring with them across the globe. The next four years found Lif a seminal member of Thievery Corporations's live shows around the world. Performing in front of huge crowds at night, by day Lif continued to hone his next batch of solo music, bringing it to his audiophile-level of perfection.
By 2013, Mr. Lif was ready to break his solo artist silence and went on a mission to rebuild his studio. He began to immerse himself in audio technology, studying different microphones, preamplifiers and compressors. Lif became a new version of himself, where he knew every detail about his gear and became dedicated to the perfect signal change that would capture his voice at the highest level.
The artist was a mad scientist in his own laboratory, refining his formula and perfecting his sound. At one point in 2013 he was sitting on 40 demos but by the beginning of 2015 he had created a catalog of new music.
In early 2015, Mr. Lif serendipitously met up with Mello Music Group's founder in the back of a Seattle bar and within a few months had worked out a multi-album deal, putting in motion the next steps in Lif's solo career. On Don't Look Down, Lif jumps in right where he left off with a sharp, tight, cohesive concept album that goes down the rabbit hole into the dark days and shining salvation of an American youth caught in the abyss of unexpected violence.
The new album's story finds Lif's protagonist delving into love, heartbreak, weariness, technological insight, political calls to action, and hope for those most lost in the Babylon of contemporary America. The advice: avoid the fall from walk to crawl. Don't Look Down.
Mr. Lif adds, "The Don't Look Down album contains many textures. It greets you in the midst of harrowing circumstances; presses you against the walls of anxiety only to give you a greater appreciation for optimism, and hands you a surrealist brush with which to paint the world."
Don't Look Down is also the story of Lif's renewed and heightened passion for the creative process and his launch forward into this new era of releasing his music. It's called "Rebuild, Reinvent, Reignite." Lif explains, "I Rebuilt my studio, I reinvented myself as an artist and I reignited my mission to reach people through purposeful and sincere music."
PRE-ORDER VIA BANDCAMP: bandcamp.com/album/dont-look-down
[bandcamp width=100% height=120 album=3570889117 size=large bgcol=ffffff linkcol=0687f5 tracklist=false artwork=small]
Don't Look Down Track Listing:
1. Pounds of Pressure
3. Everyday We Pray (ft Taylormade)
4. Let Go (ft Selina Carrera)
5. A Better Day (ft Erica Dee)
6. Whizdom (ft Blacastan)
7. Mission Accomplished (ft The Perceptionists)
8. World Renown (ft Del the Funky Homosapien)
9. iLL
10. Don't Look Down
del the funky homosapienedanmello music groupmr. lifnews
del the funky homosapien, edan, mello music group, mr. lif, news
del the funky homosapiennews
SPILL FEATURE: GATE 13 – A CONVERSATION WITH DEL THE FUNKY HOMOSAPIEN AND AMP LIVE
by Justin Martin on April 24, 2018
GATE 13 A CONVERSATION WITH DEL THE FUNKY HOMOSAPIEN AND AMP LIVE Del the Funky Homosapien and Amp have both been in the music industry for a long time [...]


text:
A 700 méter hosszú Tömő utca Budapest VIII. kerületében húzódik: a Nagy Templom utcától indul, keresztezi a Leonardo da Vinci utcát, a Bókay János utcát, a Szigony utcát, a Balassa utcát, a Füvészkert utcát, végül az Illés utcába torkollik.

Története

Józsefvárosnak ezen a területén a Schopper vaskereskedő család rendelkezett szántókkal, amiket a XIX. század elején felosztottak. Az utca lakosai 1817-ben a Schopper Gasse nevet adták az utcának Schopper János György után. A schoppen dél-német nyelvterületen használt szó, jelentése 'töm', 'megtöm', így a Schopper név szó szerinti fordítása 'tömő'. János György fia, Schopper Jenő Ágoston Tömöryre magyarosította a nevét; 1850-ben (más források szerint 1873-ban vagy 1874-ben) pedig a Schopper Gasse neve Tömő utca lett.

1968-1973 között épült fel a három 16 emeletes toronyház a Szigony utca és Fűvészkert utca között, a 32-54 szám alatt. (A Práter utca tornyai később épültek. A teljes Szigony utcai lakótelep 1980-ra készült el.)

Az elején 2005 óta tart a Corvin-negyed projekt, amely jelentős változásokat eredményezett az utca arculatában.

Épületek
2. szám: földszintes klasszicista lakóház (1840). Tervezte Kasselik Ferenc. Műemlék.
6. szám: Táncsics Mihály emeletes, romantikus lakóháza (1872). Tervezte Lohr János. Alapkövét maga Táncsics tette le 1872. március 15-én(!). Ma ifjúsági szálló (Grund Hostel). Műemlék.
19. szám: a Szeretet Misszionáriusai rend (Teréz anya nővérei) magyarországi központi rendháza a kerületi tanács által 1989-ben adományozott telken.
25–29. szám: Semmelweis Egyetem Szemészeti Klinika volt épülete (1968–1972). Tervezte Ulrich Ferenc és Székely József. 2013 óta az egyetem különféle részlegeinek közös használatában van. A jelenlegi épület helyén 1908-tól II. számúként, 1946-tól I. számúként működött szemészeti kliniként.
31. szám: Béke királynéja kápolna (Tömő utcai Béke Királynője Lelkészség). 1950-ben alakították ki. (miserend)
33/A szám: földszintes épület (XIX. sz.) Hentesüzlet, azután "Kecskeméti", később "Bodag" néven vendéglő.
33/B szám: Fodor Kálmán számára épült lakóház (1905).
35–41. szám: Semmelweis Egyetem Balassa János Kollégium (honlap)

Galéria

Jegyzetek

Budapest VIII. kerületének utcái és terei

redpajama_set_name: RedPajamaWikipedia


text:
// Copyright 2018 Espressif Systems (Shanghai) PTE LTD
//
// Licensed under the Apache License, Version 2.0 (the "License");
// you may not use this file except in compliance with the License.
// You may obtain a copy of the License at

//     http://www.apache.org/licenses/LICENSE-2.0
//
// Unless required by applicable law or agreed to in writing, software
// distributed under the License is distributed on an "AS IS" BASIS,
// WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
// See the License for the specific language governing permissions and
// limitations under the License.

#ifndef ESP_EVENT_INTERNAL_H_
#define ESP_EVENT_INTERNAL_H_

#include "esp_event.h"

#ifdef __cplusplus
extern "C" {
#endif

/// Event handler
typedef struct esp_event_handler_instance {
    esp_event_handler_t handler;                                    /**< event handler function*/
    void* arg;                                                      /**< event handler argument */
#ifdef CONFIG_EVENT_LOOP_PROFILING
    uint32_t total_times_invoked;                                   /**< number of times this handler has been invoked */
    int64_t total_runtime;                                          /**< total runtime of this handler across all calls */
#endif
    SLIST_ENTRY(esp_event_handler_instance) handler_entry;          /**< next event handler in the list */
} esp_event_handler_instance_t;

typedef SLIST_HEAD(esp_event_handler_instances, esp_event_handler_instance) esp_event_handler_instances_t;

typedef struct esp_event_id_instance {
    int32_t id;
    esp_event_handler_instances_t handlers;                         /**< list of handlers to be executed when
                                                                            this event is raised */
    SLIST_ENTRY(esp_event_id_instance) event_id_entry;              /**< pointer to the next event node on the linked list */
#ifdef CONFIG_EVENT_LOOP_PROFILING
    uint32_t handlers_invoked;                                      /**< total number of times the event has been
                                                                            raised and processed in the loop */
    int64_t handlers_runtime;                                       /**< total time spent in executing handlers */
#endif
} esp_event_id_instance_t;

typedef SLIST_HEAD(esp_event_id_instances, esp_event_id_instance) esp_event_id_instances_t;

/// Event
typedef struct esp_event_base_instance {
    esp_event_base_t base;                                          /**< base identifier of the event */
    esp_event_handler_instances_t base_handlers;                    /**< event base level handlers, handlers for
                                                                            all events with this base */
    esp_event_id_instances_t event_ids;                             /**< list of event ids with this base */
    SLIST_ENTRY(esp_event_base_instance) event_base_entry;          /**< pointer to the next event node on the linked list */
#ifdef CONFIG_EVENT_LOOP_PROFILING
    uint32_t base_handlers_invoked;                                 /**< total number of base-level handlers invoked */
    int64_t base_handlers_runtime;                                  /**< amount of time processing base-level handlers */
#endif
} esp_event_base_instance_t;

typedef SLIST_HEAD(esp_event_base_instances, esp_event_base_instance) esp_event_base_instances_t;

/// Event loop
typedef struct esp_event_loop_instance {
    const char* name;                                               /**< name of this event loop */
    QueueHandle_t queue;                                            /**< event queue */
    TaskHandle_t task;                                              /**< task that consumes the event queue */
    TaskHandle_t running_task;                                      /**< for loops with no dedicated task, the
                                                                            task that consumes the queue */
    SemaphoreHandle_t mutex;                                        /**< mutex for updating the events linked list */
    esp_event_handler_instances_t loop_handlers;                    /**< loop level handlers, handlers for all events
                                                                            registered in the loop */
    esp_event_base_instances_t event_bases;                         /**< events linked list head pointer */
#ifdef CONFIG_EVENT_LOOP_PROFILING
    uint32_t events_recieved;                                       /**< number of events successfully posted to the loop */
    uint32_t events_dropped;                                        /**< number of events dropped due to queue being full */
    uint32_t loop_handlers_invoked;                                 /**< total number of loop-level handlers invoked */
    int64_t loop_handlers_runtime;                                  /**< amount of time processing loop-level handlers */
    uint32_t total_handlers_invoked;                                /**< total number of handlers invoked */
    int64_t total_handlers_runtime;                                 /**< total amount of time dedicated to processing this loop */
    SLIST_ENTRY(esp_event_loop_instance) loop_entry;                /**< next event loop in the list */
    SemaphoreHandle_t profiling_mutex;
#endif
} esp_event_loop_instance_t;

/// Event posted to the event queue
typedef struct esp_event_post_instance {
    esp_event_base_t base;                                           /**< the event base */
    int32_t id;                                                      /**< the event id */
    void** data;                                                     /**< data associated with the event */
} esp_event_post_instance_t;

#ifdef __cplusplus
} // extern "C"
#endif

#endif // #ifndef ESP_EVENT_INTERNAL_H_

redpajama_set_name: RedPajamaGithub


text:
Plays, Poems & New Writing Story
Exploring gender and symbolism in our upcoming talk
What we can expect at the latest These are the Youths that Thunder event in the Sam Wanamaker Playhouse
by Dr Iman Sheeha
Each year, we open our playhouse doors to two rising stars of Shakespeare studies to offer up new thoughts, musings and revelations on Shakespearean times and text as part of These are the Youths that Thunder.
This November sees Dr Iman Sheeha, Lecturer in Shakespeare and Early Modern Literature at Brunel University, speak about the symbolism of women at windows and other boundaries of domestic spaces in Early Modern Drama. We spoke to Dr Iman to find out more about her work.
Phoebe Pryce as Jessica and Jonathan Pryce as Shylock in The Merchant of Venice, 2015. Photographer: Manuel Harlan.
Can you tell us a bit about your research focus, and the subject of your Youths That Thunder talk?
This talk will focus on the way The Merchant of Venice engages with early modern anxieties surrounding women, servants and liminal domestic spaces, spaces like doors, windows and gates. I show that the play evokes fears members of the original audience may have had about wives, servants and spaces that rendered households porous and, unlike the domestic tragedies popular on the stage at the time, it fails to contain these anxieties.
What drew you to it as a topic?
I am completing a book on domestic tragedies, plays about dysfunctional families and 'houses in a sweet pickle,' as one character in a domestic tragedy describes the household in which he works. All of these plays engage with fears about what women and servants get up to in the absence of their shared master of the household and in relation to spaces that connect at the same time as they separate the household from the street.
How has your research changed the way you think about Shakespeare's plays?
Working on domestic tragedies has helped me see Shakespeare's plays from a fresh angle. Shakespeare was not working in isolation, and he knew about this new genre (we know A Warning for Fair Women, for example, a domestic tragedy dating to the late sixteenth century, was performed by the Chamberlain's Men). I find it so rewarding and exciting to investigate the ways in which Shakespeare not only borrows tropes from these plays but also transforms them, as he does in Othello.
André Holland as Othello and Jessica Warbeck as Desdemona in Othello, 2018. Photographer: Simon Annand.
What do you enjoy about your current role at Brunel?
I love how diverse the student body is and how rich the cultural backgrounds that people bring to the classroom are.
What's your next dream research topic?
Perhaps my 'dream' project would be about cats in Shakespeare (crazy cat lady here!). Failing that, I am currently working on liminal domestic spaces in Early Modern Drama.
Plays, Poems & New Writing Feb 22
Do you know me, father? The Merchant of Venice through new eyes
Religion, kinship, and race in The Merchant of Venice
Medieval & Early Modern History Jul 16
Questions of value in The Merchant of Venice and Elizabethan England
A WARNING FOR FAIR WOMEN
WINTER 19/20
YOUTHS THAT THUNDER

redpajama_set_name: RedPajamaCommonCrawl


text:
How Can Surveys Inspire More Women to Report Abortions?
andrew.smith3@rutgers.edu
Even before Roe v. Wade was overturned in June, many women taking surveys didn't report their abortion experiences, a phenomenon that has long compromised research on abortion and a range of related topics.
A new study published in Culture, Health & Sexuality suggests several strategies that may reduce stigma, increase reporting and improve research that relies upon it.
"In earlier work, we showed that fewer than half of women report abortions in surveys, which creates a huge challenge for our ability to study abortion," said Laura Lindberg, a professor at the Rutgers School of Public Health and lead author of the study. "It's not just that we're missing so many cases but that we're missing them in a biased way. Without good measures of abortions, we don't have good measures of pregnancy experiences overall. Efforts to improve abortion reporting are needed to strengthen the quality of pregnancy data to support maternal, child, and reproductive health."
With funding from the National Institutes of Health, Lindberg and colleagues from the Guttmacher Institute in New York developed a variety of potential survey questions that approached abortion in different ways, each designed to minimize stigma, intrusiveness and confusion. Team members then asked 64 racially and ethnically diverse cisgender women ages 18 to 49 which potential question sets seemed most likely or least likely to inspire disclosure.
Analysis of their responses suggested a few strategies for improved reporting, such as:
Including abortion as part of a list of other sexual and reproductive health services
Asking a yes or no question about lifetime experience of abortion instead of asking about the number of abortions
Developing an improved introduction to abortion-related questions
The study team used these insights to design a larger follow-up that could change the abortion question designs used in surveys by the National Center for Health Statistics and researchers worldwide. A follow-up study randomly divided 6,000 women into six groups of 1,000 and surveyed each group about abortion history with different question sets. If the published paper shows that any experimental question set produced more disclosure than the existing CDC survey language (given to one group to act as a control), the question set that maximized disclosure likely will become the new standard.
"I have a long-standing relationship with staff at the National Center for Health Statistics, and I've been in communication with them since before this project even started and presented ongoing findings there," Lindberg said, "so, there's definitely an opportunity to influence how national surveys are written as well as provide guidance to the field."
There is a wild card that may alter willingness to report an abortion – and, therefore, the most effective way to ask about it: The U.S. Supreme Court's Dobbs decision, which found that abortion isn't a constitutionally protected right and has allowed states to enact abortion bans.
"If it was hard to measure abortion before, it's going to be even more challenging moving forward," Lindberg said. "We're going from asking women to report an activity that, while sensitive and stigmatized, was at least legal to asking them to report an activity that may be actually illegal in some places and may be widely perceived as illegal in places where it isn't." Still, Lindberg says improving abortion measurement and survey quality is crucial to help monitor and understand the impact of new abortion laws.
Resilience to HIV-Related Stigma May Be Key to Ending the AIDS Epidemic
Rutgers School of Nursing Receives Nearly $1 Million Federal Grant to Address New Jersey's Staffing Shortfall
Rutgers Specialists Show Facial Pain Can Be Unconnected to Teeth


text:
The Nostalgic Era
Mercedes Benz Restores Oldest SL To Commemorate 60th Anniversary
Thread Starter 350Z
These are the photographs of Mercedes Benz 300SL which is the oldest existing SL-Class on earth. It has been recently restored by Mercedes Benz in order to commemorate the 60th anniversary of SL-Class. According to Mercedes Benz:
"The restoration of the bodywork was particularly tricky. It's made out of extremely fine aluminium/magnesium sheet metal, which, by its very nature, is extremely delicate. Time had also taken its toll on it in many places. It took the specialists around six months to bring the body shell... back to its former glory. The restoration... lasted ten months in all, which, in view of the extensive work involved, represented a very tight schedule."
A cardinal rule of building racecars is "simplify, then add lightness." There was plenty done to the end of lightness in chassis #2 such as a magnesium transmission bell housing. As for simplifying things, what you see on the blueprint in the background is about as simple as a 4-speed syncro-mesh manual transmission gets.
That large platter-shaped object is the hand-fabricated air filter housing and if you're wondering why it's so far off to one side, it's because the only way that the straight-six engine would fit under the hood was to tilt it 50 degrees to the left. And when we say "fit" we mean just: there's all of 1 centimeter between the air filter housing and the hood.
The fully restored interior of chassis #2—just because it was designed as a racecar didn't mean the driver had to be uncomfortable. And take a look at the speedo and tach: you'll see their design reflected in the gauges in the all-new SLK and SL.
Aluminum-intensive construction, separated by 60 years.
Stripped bare of paint, the chassis #2's hand-crafted aluminum body awaits restoration at the Classic Center in Fellbach, Germany.
All you need are seats and a steering wheel, and you could drive it away. The body on chassis #2 (and every subsequent Gullwing) was basically just aerodynamic cladding. Also, you get a better look at the engine. Using tried and true hot rodding methods, Rudy Uhlenhaut and his team took the three-liter straight-six out of the dignified "Adenauer" sedan (the equivalent of today's S-Class) and got to work, fabricating their own cylinder head with hotter cams and better-breathing Solex racing carburetors. Finally, they tilted it 50 degrees to the left so it would fit, then gave it dry-sump lubrication so it could sit lower in the chassis. The net result was a jump in horsepower from 115 to 170; by the end of the original 300SL's production run, power was up to 222 hp—good for an honest 160 mph in a day when 110 was a stretch for most high-performance sports cars.
Primed and ready for its first new coat of paint in 60 years, you can easily see the imperfect fit between chassis #2's body panels. That's because every one of them was literally hand-made—it's just not possible to get the tolerances that mechanical stamping is capable of that way. Still, there's something to be said about building an entire car body with nothing but hammers, English wheels and bare hands.
Notice how smooth chassis #2's flanks are—not a door seam to be seen. Of course, that begs the question, where are the doors? They're right where they should be, except that on the early 300SLs, they didn't go any lower than the driver's side window. Sure, they made getting in and out difficult, but they also made for smoother overall airflow, which meant just that much more speed. They may have stayed that way, too, had it not been for racing's governing body mandating larger doors.
Not even the once-ubiquitous Mercedes-Benz tartan plaid seat upholstery can survive 60 years unscathed. Note the holes in the seat frame—since chassis #2 was built as a racecar, weight was saved wherever it could be, and that meant using as little metal as possible but stopping short of compromising structural integrity.
Everything you need to identify chassis #2 for what it is.
See that leather strap? In the days before hood pins, that's how you kept the hood from flying open at high speeds.
One of chassis #2's front suspension towers. Notice the holes—when we said weight was saved everywhere, we meant it. A note about the front axle: as you might expect it was drilled out to save weight, but curiously, it was also nickel-plated. Nobody at the Classic Center could figure out why until an old hand pointed out that the nickel plating made potentially dangerous hairline cracks visible to the pit crew.
If you wanted to open a window, that small cow flap was it. In fact, the windows weren't actually glass, but rather aircraft-grade Plexiglas. Again, all in the name of saving weight.
Made of high-strength alloy tubes in a pattern of interlocking triangles, the 300SL's spaceframe chassis was not only incredibly light, but incredibly stiff, as well. Part of that was thanks to the tall side sills, but of course that meant regular doors couldn't be fitted to the SL. Yes, that's right: the gullwing doors were not a stylistic flourish, but rather the only way to get in and out of the car.
Part of what made the 300SL a great endurance racer was how much could fit under that trunk. For one thing, an absolutely gigantic fuel tank gave it long distance range. For another, there was still enough room in there to fit two full-size spare wheels and tires.
Assuming there's a total of six men holding chassis #2's body, we can figure that each one is holding a little more than 18 lbs each—the entire body only weighed 110 lbs.
Chassis #2 getting its second coat of paint 60 years after its first, but other than the color, the two have nothing to do with one another. The original paint was a semi-gloss nitro-cellulose lacquer, but of course nitro-cellulose-based paints have long been banned for environmental reasons. However, through exhaustive research of period color photographs, the original paint supplier was able to produce a water-based version of "silver bronze," the official racing color at the time.
Fully restored and back in action, chassis #2 stretches its legs a bit. You can still find a hot rod-style side-exit exhaust on the G55 AMG.
(Pictures and Caption: Mercedes Benz USA)
Sam Dinkar
Nice way to begin Vibhor, with a quote from Colin Chapman. It is always heartening to see an old, dying car being brought back to life again to turn a wheel in anger. Kudos to all the people who were involved in this restoration project for their brilliant effort.
Excellent thread 350Z. Must say this is the best way, a company can celebrate the success of their anniversary.
Ah!! so achingly beautiful. Thanks for the pictures. This car was quite a looker and runner too. All that SL class stood for.
wow amazing thread and pics! kudos merc for restoring in showroom condition and also feels great to see old and new sl standing together


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Search for Report Writing Sample. Find Report Writing Sample.
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A Guide to One Page Project Reports (+ Free Template) A one page status report is just like a regular project status report. The only difference is that the one page status report contains a brief but concise overview of accomplishments, milestones, problems, and issues encountered, and budgetary information about the project.
page 1 of ___ (if more than 1 page. If only 1 page, this is not needed) SUMMARY. Summarize the report information without giving the details. Write the problem briefly, for example, but not all the details, and give the way you will solve it, and what the benefits would be. BACKGROUND (sometimes you did not need this.
Whenever you have to write a specific length report on any topic it is best to do an outline first where you identify the most important items you wish to include in your report. After you have a few items listed you can rank them according to importance or relevance. Then you address each one in the amount of space required.
Secrets of the Succinct One-Page Report. Sandra Hogan . Reports are generally long, but sometimes you are asked to write a report in one page, which can be most alarming. The idea of the one-pager seems to have begun in World War ll and the credit for it goes to Winston Churchill or General Dwight Eisenhower, depending on who tells the story.
A One-page Project Status report is one of the most powerful tools available to a project manager. A weekly project status report template is key to project manager as as it covers the key aspects, schedule, risks and issues.


text:
-//-Molly Davidson-//-
Ultimately I feel like my art form is communication. The way that altering language can interact with different parts of the soul. Sometimes that is poetry, and sometimes that is essays. Often that is just moments with people of communication.
When did you start writing?
As soon as I could. I have poems that I wrote when I was in elementary school. When I was in fourth grade I was working on this novel. It's called Broadway Bloodbath.
It was such a big deal, and I was very specifically calling it a novel, I thought I was hot shit. So yeah I just always had this interest in writing, I loved reading, I made people read to me all the time when I was younger.
What was it about stories that you wanted?
As a kid I liked the escapism. There was less of a distinction between the stories and my life. I felt as if the characters of the books were with me.
And now I feel so clearly that they're not, that I need that more.
Because the world sucks. As a kid when somebody's reading you a picture book you sink into it really easily.
And now I feel like I'm hungry for that space so I have to really intentionally create it around me.
Do you feel uninhibited as an artist?
No I feel greatly inhibited.
Culture. I put this on myself more than anything but the fact that I have to fit in, I have to find a job that makes sense, I have to make money that's consistent. I feel greatly inhibited.
That in itself is actually a great source for inspiration. It doesn't shut me down entirely but it depresses me just enough to be like why, why can't I just make it with this art form and this communication that I think is so important and so valuable, almost to the point of no price tag is enough.
Does writing feel playful to you?
No. It feels like work. Journaling feels playful. Talking to myself on the page. Words that matter to me that I'll just play around with, that's playful. But when I sit down to create something… I'm a lot more product obsessed than I want to be.
People ask me all the time have you been writing?And unless I have a finished piece I often say no. Even if I spent the last three days writing for three hours.
But sometimes writing is not actually writing. Sometimes it's looking at a Wikipedia page for twenty minutes. It's accessing that same space in my mind that does the work of writing so I consider it that. If I don't finish something I'm like nope I haven't been writing. And that's my own bullshit, I know I need to recondition myself. But that's our culture isn't it?
We're so product driven, you have to produce more. It's incessant. And I am not prolific. I'm slow and I'm calculated. And I like it that way. But the space around me doesn't want to make me okay with that.
How's your imagination?
It's over-active.
I think there's different kinds of imagination. Like people who write fiction, I do not have it, at all. I can come up with a concept and not follow it through to the end. And I think that's why I write poetry and not fiction.
What is the imagination in your poetry?
Probably has to do with language. I want to know what the root of a word is, what the root of shame is and does that say something about the way that we use it now? I imagine a lot in that way. But I know I have an over-active imagination because I have so much anxiety. And to me anxiety is just my imagination not going the right way.
Say more about that.
Well what is anxiety, it's imagining a scenario that hasn't happened, that could happen. I have perpetually "I left the stove on disorder".
Anxiety serves a purpose in terms of evolution, to imagine the worst case scenario so you can always be prepared. But then it becomes toxic, when you get too good at it and you don't know how to turn it off. Recently I've been trying to think of my anxiety as a sign for me to write. That doesn't always work, usually I just go back to my house and make sure the stove is off.
What do you think art does for the world?
I think it does many things. I think art helps us understand our condition, understand ourselves.
Art can also just be something pleasurable. Art is just there to keep us from ourselves, and save us from all these dumb systems we've created. I don't really know but I know I want it, I know I need it.
I think art is the necessary creation that we need.
Do you think that poets are performing a service?
Yes. I would never want to live in a world where there are no poets. I think poetry is there to tell us that what you think of as communication and what you think of the world in front of you is so much deeper and so much more unseen.
We all have this desire for that deep unseen reminder. Whether we know it or not. And that's the service.
You talk often about occupying grey space, is it difficult for you, that grey?
For a couple of reasons. First I like answers so it's just difficult for me to be in a place where two things can be true. And two it's difficult because the external world likes answers and they want things to be definite. And three it's difficult because it's isolating.
I feel a deep sense of loneliness in the grey space. I'm hungry for connection, to be seen and to see other people. And sometimes the grey just fogs everything up. And so rarely do you get this small moment of clarity where there's an opening in the grey and you see another person's face and they're there too. And then it goes away and you're back to where you were, alone.
What does beauty mean to you?
I don't think very much about beauty.
I like language that is beautiful. I read a lot of poetry that I have no clue what it's saying. But if it's beautiful to me, I love it with all of my heart.
It's almost beauty in its purposelessness.
I call something beautiful and it soothes me, I don't need to worry about beauty itself that's too big.
-Molly Davidson


text:
Volume 14, Issue 16; April 16, 2014: Design Errors and Groupthink
Design Errors and Groupthink
Design errors cause losses, lost opportunities, accidents, and injuries. Not all design errors are one-offs, because their causes can be fundamental. Here's a first installment of an exploration of some fundamental causes of design errors.
Ice on the launch pad on January 28, 1986, the day of the last Challenger Launch (STS-51-L). The unusually cold weather was well beyond the tolerances for which the rubber seals of the solid rocket boosters were approved, and it most likely caused the O-ring failure that led to the Challenger loss. Groupthink probably provides a solid explanation for the flawed launch decision, but it can do much more. The string of decisions that led to the design of the space shuttle itself might also have benefited from scrutiny from the perspective of groupthink. Even more important, though, is the organizational design of NASA. There was a belief both inside NASA and out that it was an elite organization that always got things right. That belief is one of the fundamental characteristics that makes groups and organizations susceptible to groupthink. Only after the loss of Challenger did the question of the design of NASA come into focus. See, for example, Howard S. Schwartz, Narcissistic Process and Corporate Decay , New York University Press, 1992. (Order from Amazon.com) Photo by Michael Hahn, courtesy U.S. National Aeronautics and Space Administration.
Design is the articulation of intent to achieve a goal, including plans for executing that intention. We're engaged in design whenever we devise products, services, procedures, tests, policies, legislation, campaigns — just about anything in the modern knowledge-oriented workplace. And when we design, we risk error. Our design might not achieve all we hoped, or it might not achieve the goal at all. Or we might discover that the goal we were aiming for isn't what we actually wanted. So much can go wrong that attaining even a measured success sometimes feels thrilling.
Design errors are more common than we imagine. When a system produces disappointing results, we cannot always distinguish design errors from user errors or implementation errors. And we don't always know whether the system was being used in an environment for which it was designed. That's why we sometimes mistakenly attribute system failures to something other than design error, even when design errors played a role.
Because we usually use the term error for undesirable outcomes, the language we use to describe design errors carries connotations that limit our thinking. For this discussion, we use error to mean merely unintended as opposed to unintended and unfavorable. With this in mind, when a design "goes wrong" we mean that it didn't achieve the goal, or that we discovered an even more desirable goal. We must therefore classify as design errors those exciting surprises that bring welcome results. Typically, we take credit for these as if we intended them, but their sources are often simple design errors.
The Design errors are more
common than we imaginekind of design errors I find most fascinating are those that arise from the way humans think and interact. Let's begin with one of the most famous of group biases, groupthink.
Groupthink happens when groups fail to consider a broad enough range of alternatives, risks, interpretations, or possibilities. Groups are at elevated risk of groupthink if they aren't diverse enough, or lack sufficient breadth of experience, or feel infallible, or want to preserve their elite status, or have an excessive desire for order.
For example, if an elite review team is pressed for time and must review two designs — one by an elite development team, and one by a less accomplished team, it might decide to do a less-than-thorough job on the work of the elite development team so as to make time for careful review of the work of the less-accomplished development team. Because the review team values its reputation for getting work done on time, and because it feels an affinity for the elite developers, an error in the elite developers' work can squeeze through. That might not be a bad thing, of course. Some design errors produce favorable outcomes. Such beneficial errors are rare, but we ought not dismiss the possibility out of hand.
We'll continue next time with an examination of more group biases. Next in this series Top Next Issue
Is every other day a tense, anxious, angry misery as you watch people around you, who couldn't even think their way through a game of Jacks, win at workplace politics and steal the credit and glory for just about everyone's best work including yours? Read 303 Secrets of Workplace Politics , filled with tips and techniques for succeeding in workplace politics. More info
More articles on Problem Solving and Creativity:
The Shower Effect: Sudden Insights
Ever have a brilliant insight, a forehead-slapping moment? You think, "Now I get it!" or "Why didn't I think of this before?" What causes these moments? How can we make them happen sooner?
How to Foresee the Foreseeable: Focus on the Question
When group decisions go awry, we sometimes feel that the failure could have been foreseen. Often, the cause of the failure was foreseen, but because the seer was a dissenter within the group, the issue was set aside. Improving how groups deal with dissent can enhance decision quality.
Clearing Conflict Fog
At times, groups can become so embroiled in destructive conflict that conventional conflict resolution becomes ineffective. How does this happen? What can we do about it?
Newtonian Blind Alleys: I
When we decide how to allocate organizational resources, we make assumptions about how the world works. Often outside our awareness, the thinking of Sir Isaac Newton influences our assumptions. And sometimes they lead us into blind alleys. Universality is one example.
Power Distance and Teams
One of the attributes of team cultures is something called power distance, which is a measure of the overall comfort people have with inequality in the distribution of power. Power distance can determine how well a team performs when executing high-risk projects.
See also Problem Solving and Creativity and Project Management for more related articles.


We hope you'll enjoy our one of a kind business. We are truly North Carolina Spirits where we have created an air of togetherness, mutual respect, and love of the Western North Carolina Mountains. These are the shared commonalities that bring us together as a Social Club.


Oranges and lemons are a citrussy match made in heaven. Urvashi Roe serves these possets in shot glasses for a dainty touch, perfect for afternoon teas. Serve with Earl Grey tea - the perfect partner to all things citrus. For more fantastical Mad Hatter's tea party recipes, visit our page celebrating the 150th anniversary of the publication of Alice's Adventures in Wonderland.


I love love love having our weekly Friday movie night. Popcorn, cozy blankies and at the moment, some kid friendly Halloween movies to get us all in the spooky spirit. There's some really great choices out there to give littlies that delicious thrill of ooky without being all too spooky. Let's dive right in!
You have no idea how excited I was when this came on Netflix. I've already watched it eleventy-hundred times before and I've watched it eleventy hundred more since it came on. If you don't think it's the best Halloween movie of all time, we might not be friends anymore.
It doesn't get much nerdier than H.P. Lovecraft, but his Legends of the Old Gods usually aren't too kid friendly. Luckily, someone has created this truly adorable cartoon based around kid HP Lovecraft falling into the world he would one day write about. It's animation is a little cheap, but it's spooky and cute – perfect for Halloween!
I've loved the recent trend of short animations of picture books (Like The Gruffalo and Hairy Maclary), and Room on the Broom is just as good. It tells a story that every parent can relate to – the poor witch just wants to go for a ride on her broom but everyone wants to come along.
I am a total wuss when it comes to scary movies so anything aimed at kids is perfect for me!


text:
<?php

namespace eq\helpers;

use EQ;
use eq\base\FileSystemException;

class FileSystem
{

    public static function filterBasename($basename)
    {
        return str_replace('/', '', str_replace('\\', '', $basename));
    }

    public static function assertExists($path)
    {
        $path = EQ::getAlias($path);
        if(!file_exists($path))
            throw new FileSystemException("File not found: ".$path);
    }

    public static function assertFile($path)
    {
        $path = EQ::getAlias($path);
        if(!file_exists($path) || !is_file($path))
            throw new FileSystemException("File not found: $path");
    }

    public static function assertWritable($path)
    {
        $path = EQ::getAlias($path);
        self::assertExists($path);
        if(!is_writable($path))
            throw new FileSystemException(
                (is_dir($path) ? "Directory" : "File")
                ." is not writable: ".$path
            );
    }

    public static function exists($path)
    {
        $path = EQ::getAlias($path);
        return file_exists($path);
    }

    public static function isFile($path)
    {
        $path = EQ::getAlias($path);
        return is_file($path);
    }

    public static function isDir($path)
    {
        $path = EQ::getAlias($path);
        return is_file($path);
    }

    public static function mkdir($path, $mode = 0775, $recursive = true)
    {
        umask(0);
        $path = EQ::getAlias($path);
        if(is_link($path))
            $path = realpath($path);
        if(is_dir($path)) {
            if(fileperms($path) !== $mode)
                @chmod($path, $mode);
            return;
        }
        if(!@mkdir($path, $mode, $recursive))
            throw new FileSystemException("Unable to create directory: ".$path);
    }

    public static function rm($path, $nothrow = false)
    {
        if(!is_array($path))
            $path = [$path];
        foreach($path as $p) {
            $p = EQ::getAlias($p);
            if(is_dir($p))
                self::rmdir($p, $nothrow);
            elseif(file_exists($p))
                self::rmfile($p, $nothrow);
        }
    }

    public static function fputs($fname, $data, $append = false)
    {
        $fname = EQ::getAlias($fname);
        $flags = $append ? FILE_APPEND : 0;
        self::mkdir(dirname($fname));
        if(is_array($data))
            $data = implode("\n", $data);
        if(@file_put_contents($fname, $data, $flags) === false)
            throw new FileSystemException("Unable to write file: ".$fname);
    }

    public static function fgets($fname, $as_array = false)
    {
        $fname = EQ::getAlias($fname);
        $data = @file_get_contents($fname);
        if($data === false)
            throw new FileSystemException("Unable to read file: ".$fname);
        return $as_array ? explode("\n", $data) : $data;
    }

    public static function freadlines($fname, $flags = null, $context = null)
    {
        $fname = EQ::getAlias($fname);
        if($flags === null)
            $flags = FILE_SKIP_EMPTY_LINES|FILE_IGNORE_NEW_LINES;
        $data = @file($fname, $flags, $context);
        if($data === false)
            throw new FileSystemException("Unable to read file: " . $fname);
        return $data;
    }

    public static function filemtime($fname)
    {
        $fname = EQ::getAlias($fname);
        return filemtime($fname);
    }

    public static function tempfile($dir = null, $mode = 0600)
    {
        if($dir)
            $dir = EQ::getAlias($dir);
        is_dir($dir) or $dir = sys_get_temp_dir();
        $fname = tempnam($dir, "eqtmp");
        if($mode !== 0600) {
            umask(0);
            chmod($fname, $mode);
        }
        return $fname;
    }

    public static function uniqfile($dir, $ext = "", $len = 16)
    {
        $dir = EQ::getAlias($dir);
        $fname = Str::randstr($len).$ext;
        if(!is_dir($dir)) {
            if(is_file($dir))
                throw new FileSystemException("Not a directory: $dir");
            else
                return $fname;
        }
        for(;;) {
            $fname = Str::randstr($len).$ext;
            if(!file_exists(Path::join($dir, $fname)))
                break;
        }
        return $fname;
    }

    public static function glob($pattern, $flags = 0)
    {
        return glob(EQ::getAlias($pattern, $flags));
    }

    public static function concat($input, $output, $nl = false)
    {
        is_array($input) or $input = [$input];
        $outfile = @fopen(EQ::getAlias($output), "w");
        if($outfile === false)
            throw new FileSystemException("Cant open file for writing: $output");
        foreach($input as $fname)
            fwrite($outfile, static::fgets($fname).($nl ? "\n" : ""));
        fclose($outfile);
    }

    public static function copy($src, $dst, $force = false)
    {
        self::_copy(EQ::getAlias($src), EQ::getAlias($dst), $force);
    }

    public static function move($src, $dst)
    {
        if(!rename(EQ::getAlias($src), EQ::getAlias($dst)))
            throw new FileSystemException("Cant move $src to $dst");
    }

    public static function imageJPEG($img, $path, $quality = 100, $mode = 0664)
    {
        $path = EQ::getAlias($path);
        preg_match('/\.[^\.]+$/', $path, $matches);
        $ext = isset($matches[0]) ? strtolower($matches[0]) : null;
        if($ext !== ".jpg" && $ext !== ".jpeg")
            $path = rtrim($path, ".").".jpg";
        static::mkdir(dirname($path));
        $res = imagejpeg($img, $path, $quality);
        if($res)
            @chmod($path, $mode);
        return $res;
    }

    protected static function _copy($src, $dst, $force = false)
    {
        self::assertExists($src);
        if(!$force && file_exists($dst) && filetype($src) === filetype($dst))
            return;
        if(is_dir($src)) {
            if(!file_exists($dst))
                self::mkdir($dst);
            $files = scandir($src);
            foreach($files as $file) {
                if($file !== "." && $file !== "..")
                    self::_copy("$src/$file", "$dst/$file", $force);
            }
        } else {
            self::mkdir(dirname($dst));
            copy($src, $dst);
        }
    }

    protected static function rmfile($path, $nothrow = false)
    {
        $path = EQ::getAlias($path);
        if(!@unlink($path) && !$nothrow)
            throw new FileSystemException("Unable to remove file: ".$path);
    }

    protected static function rmdir($path, $nothrow = false)
    {
        $path = EQ::getAlias($path);
        foreach(scandir($path) as $file) {
            if($file === "." || $file === "..")
                continue;
            $file = Path::join([$path, $file]);
            if(is_file($file))
                self::rmfile($file, $nothrow);
            else
                self::rmdir($file, $nothrow);
        }
        if(!@rmdir($path) && !$nothrow)
            throw new FileSystemException("Unable to remove directory: ".$path);
    }

}


text:
package es.tid.cosmos.servicemanager.ambari.rest.as

import com.ning.http.client
import net.liftweb.json
import json.JsonAST.JValue

/**
 * Helper object to translate HTTP responses to JSON.
 */
object Json extends (client.Response => JValue) {
  def apply(r: client.Response) = json.parse(r.getResponseBody match {
    case "" => "{}"
    case body => body
  })
}


This is the first time we've gone fishing for this year! My dad drove the pondtune bout to a stump mine. The whether is beautiful!!!! Dad caught three fish, one was 1 pounds, one was 3 pounds, and one was tiny perch.
The day was fun, I lost my tooth eating skittles blood spewed everywhere on dads boat!! Finally we ate Los Cucos. When we got to Los Cucos I was tired. I had movements in the eving because I was on my knees a lot.


Eames Century Modern is a font family of eighteen weights from House Industries. It is a slab serif with smooth brackets, a style known as Clarendon but also sometimes referred to as Ionic. The family contains stencil, bold, regular, book, light and thin weights. It is a beautiful typeface, but what really catches my eye and makes it a standout are the extras, particularly Eames Frames, which I like just for their own sake.
It's Monday, which means it is blog day, and this week I find myself devoid of inspiration. I'm currently working on several major projects that, even though they are progressing apace, are at a stage where they're forming a major confluence in my headspace, and there's just no room for anything else. Despite the fact that all these projects involve aspects of typography, I'm finding it difficult to drag my thoughts clear enough away. But yes—it's obvious: a typeface called Monday! There is a particularly lovely serif typeface, with several weights, designed by Henrik Kubel of London-based A2-Type, but I don't have it to use. I do have the Monday you see here, an internet font which I doubt I will ever use. I have Lemon Tuesday too, which I am also including because I'm running late and it's almost tomorrow.
Here's a typeface I'd love to find a use for. It came with FUSE 1–20, the 2012 anthology of the FUSE project, an experimental publication on typography and fonts launched by Neville Brody and Jon Wozencroft in 1990. The original FUSE was a quarterly 'magazine' published by FontShop. Each issue was thematic and contained a floppy disk (!) with fonts, plus posters, in a cardboard carton. I can't find any information that tells me who designed F Neural, or when, but I am impressed by its inventiveness, and how well-crafted it is despite its deconstructed appearance.
There's a summer heatwave here. Yes, I know, it's summer and it's Australia, so saying it's hot is somewhat tautological. But really, it's been hot. Last Sunday the weather app on my phone (it's addictive, isn't it?) told me the temperature was 45 degrees. I have an OCD tendency to want to know the temperature in fahrenheit too. A quick calculation using the 'add 15 and double it' formula made it a staggering 120 degrees. (More accurately it translates to 113, but either way, when it gets that hot what's a few degrees either way?) News reports of hordes of people at the beach proved the point and I bet the cinemas were packed too, given how icy their airconditioning usually is. We stayed inside all day in a dark room with the fan on, but perhaps we should have ventured to the beach, which this dingbat, from the DF Diversions character set, makes enticing.
I have spent a lot of time in the garden this week. On Wednesday morning I woke with a plan. This entailed visiting several garden centres because, naturally, one place had the right pots, another had the right potting mix, and yet another had the right plants. On Thursday pots were positioned, plants were planted. On Friday, after months of dry weather, and with perfect timing, it rained. My new hibiscus already has new flowers, and wouldn't you know it, I have a typeface called Hibiscus!
Zennor was designed by Phill Grimshaw in 1995. Grimshaw studied at Bolton College of Art before earning a place at the London Royal College of Art in the early 1970s. He subsequently specialised in type design, returning to Lancashire where he established a commercial lettering studio. Grimshaw was prolific: he created dozens of dynamic, calligraphic-inspired typefaces, including Arriba, Braganza, Kendo, Scriptease, Tempus Sans, Pristina and Grimshaw Hand. In turn, his calligraphic work was inspired by typography, and his experimental crossover technique earned him a formidable reputation. His 1992 typeface, Hazel, became the last type design to be produced by Letraset as a dry transfer.


High-Low split pot poker has many appealing features and is great for a dealer's choice home poker game. Its most significant appeal is that it stimulates and increases players' participation. More players are usually active in each hand and they stay in the hand longer. More action makes for larger pots. With twice as many pots at stake there are more chances to win as well as the hope of "scooping the pot" by winning both the high and low hands. Additionally, there is extra skill involved in reading other players' hands and declaring your own hand. All in all, high-low poker adds a lot more interest and action and promotes the fundamental objectives of a home poker game - that it be challenging and fun.
In High-Low split poker games half the pot is awarded to the player with the highest hand and half is awarded to the player with the lowest hand. If 2 or more players tie in the same direction they evenly split that portion of the pot. The high hand is easily determined as it conforms to the standard hand rankings of poker. There are varying methods that can be used to designate the low hand. There are also options to determining if a player's hand is competing for the high hand, the low hand or both. All these factors and more are detailed below.
When played with declaration (which we recommend should always be the case) high-low poker requires additional skills beyond those needed in playing high-only poker games. Some of those skills include: Evaluating the potential of your hand to improve in both the high and low direction, the ability to recognize when you are the only player who will declare in a particular direction, the ability to influence or deceive your opponents' thinking into the direction you are going for, using scare cards to deceive your opponents.
High-low split poker games can be problematic as well. Most of the time you are competing for just half the pot, so your pot odds for drawing are often poor. Additionally, home game players tend to play quite a bit more loosely in split pot games, so you usually have more competition. In theory, it would be preferable to tighten your starting hand requirements and play only hands that have multiple ways to develop into winning hands. That is easier said than done, especially in a home poker game environment. Rather than fold hand after hand, you might be able to get away with playing starting hands that are just a little bit better than the hands the others play, particularly in an unraised pot.
The ace is "king" in high-low poker. In the vast majority of high-low poker games an ace may be used as both the highest and lowest card. That makes aces significantly more valuable in high-low poker than any other card and starting hands that include an ace more valuable.
Ideally, you want a starting hand that has a good chance to win either high or low (or both). Ironically, the best way to have a chance of winning both high and low is to start with low cards, especially if it includes an ace. (Aces suited to low cards, such as A♣ A♦ 2♣ 3♦ in Omaha, would be even better.) Even if a good low hand does not develop for you the hand may turn into aces-up, a straight or flush that can win high. When you start with high cards only, they can never turn into a low hand, so you are competing for no more than half the pot.
High-low split poker is best played as a fixed limit game, not pot limit. The reason is that in pot limit an opponent with a lock one way can make is so expensive that even if you hold the leading hand the other way you cannot afford to call. Faced with the possibility of ever increasing pot sized bets the pot odds may become too unfavorable to justify continuing. This is not the type of situation you want for a friendly poker game.
The most important consideration for high-low split poker games involves how a player's hand is designated as either high or low, or both. It has a significant impact on how you should play and the skills needed to be successful. High-low designation can accomplished either by just showing cards ("cards speak") or by means of declaration. There are 2 high-low declaration methods: simultaneous and sequential. In either of these declaration methods each player must choose and announce if they are going high, low or both and their hand is valid only in the direction they select. This puts a premium on your ability to determine (or guess) which way the other players are going. In a declaration game the ability to read your opponents' intentions can win you additional pots even with mediocre cards. Once made, a declaration is binding. There is no remedy for a mistake. When the time comes to make declarations take your time and make sure you make the declaration you want to.
Cards Speak: Short for the cards speak for themselves (i.e. they are what they are). In a cards speak situation after the last round of betting the players simply show their hands. The best high and low hands are determined by looking at the hands and the pot is divided accordingly. If 2 or more players tie in the same direction they evenly split that portion of the pot. This is a simple method and eliminates much of the need to read the other players hands. In situations where you are fairly confident your hand is either the best high or best low but you aren't certain which, cards speak is to your advantage since there is no decision to be made. It also eliminates the risk associated with declaring for both high and low.
Simultaneous Declaration: Each player must declare if their hand is high, low or both by using chips to reveal their decision. Typically, players place one closed fist on the table and when the signal to declare is announced they open their hand to reveal: no chip if going low, one chip if going high and 2 chips if going both ways. Never allow a player to put both hands on the table at declaration time. By placing 1 chip in one hand while having none in the other and waiting just a second after the other players have revealed their decision such a player can change their decision to a more advantageous one.
Unlike cards speak, in situations where you are fairly confident your hand is either the best high or best low but you aren't certain which, simultaneous declaration puts you into a precarious position. You will be forced into guessing which way to declare. If you guess right you may win half the pot. If you guess wrong you will win nothing. Thus, simultaneous declaration requires you to not only analyze the strength of your opponents' hands but also to predict if they will declare high or low.
The house rule for declaration is your decision. Simultaneous declaration is (in our opinion) the fairest and, by far, the preferred method. No declaration "cards speak" is an acceptable alternative. Sequential declaration gives a huge advantage to the player who declares last. We don't like it.
Whenever declarations are used your game needs a couple of additional house rules. The first is regarding a player calling both high and low. Specifically, will losing or tying in one direction disqualify a win in the other?
The recommended rule is that a player declaring both must win both ways. If they lose or tie in one direction, they lose in both. Without this penalty every player could declare both high and low on every hand and you have essentially defaulted to a no declaration (cards speak) format.
Typically, a round of betting occurs after declaration, so the second house rule involves betting after declarations are made. There will often be times where only one player has declared in one of the directions. Because they have no competition they have assured themselves of or "locked" that portion of the pot. You should set a rule as to whether a player in that position is allowed to bet and raise or not. How you decide is largely influenced on how aggressive or restrained you want the game to be. If you allow a locked player to bet and raise they, of course, should do so at every opportunity since they will always profit with absolutely no risk. This makes it more uncomfortable and expensive for the other players and your game develops a more aggressive or no mercy style. If you wish to have a more restrained or friendly atmosphere you would restrict a locked player to only being able to call the other players' bets.
It is absolutely essential for your house rules to specify exactly what the best low hand is, but in a home game different people may approach it in different ways. Commonly, 5432A is considered the best, which does not disqualify straights and flushes for the low and allows an ace to be used either high or low. Thus, 5432A rules gives more opportunity for a player to win both the low and high shares of the pot. Another reasonable alternative for a home poker game is 6432A. This also uses the ace for either high or low, but under 6432A rules straights and flushes do disqualify the low so there are fewer opportunities to win the entire pot. Throughout the site when we discuss high-low split we are assuming 5432A to be the best low unless otherwise specified.
Keep in mind that, when an ace may be counted as either the highest or lowest card, a pair of aces may be counted as both the highest and lowest pair.
Far less common for best low is 75432 which also does not allow straights and flushes to be used low and counts the ace as a high card only. Deuce to Seven Lowball (aka Kansas City Lowball) is an example of a game using 75432 as the best low hand, but it is played as a low hand game only.
To determine the winning low hand, always start by comparing the highest card of each hand. For example, 76542 would beat 8432A. If the first cards are the same, go to the second card to determine the winner. For example, 75432 beats 7632A. If the first 2 cards are the same, compare the third cards, and likewise, the fourth or even the fifth until the winner is determined. Below is a chart that ranks the top low hands in the typical low hand ranking schemes.
When playing under 6432A rules rather than 5432A, realize that it will be slightly more difficult to draw a low hand. This can be especially problematic with a game that requires a qualifying low hand (eg. Omaha 8 or better). As an example, say you hold an A2 and the flop comes 45X (X = any card 9 or higher). In a 5432A game there are 4 cards (3,6,7,8) that will make a qualifying low. In a 6432A game only 3 cards (6,7,8) will make you a qualifying low. A 3 makes a straight. That might give you the winner for high, but it does not qualify for an 8-or better low. If there is another card to come, you still have a low draw. In this example, a 6 will now give you the nut low. A 7 (or 8) also gives you a qualifying low of 7432A (or 8432A), but, neither of those hands are the nuts. For example, if the board shows 7543X your 2A makes your hand 7432A. But, that would be beaten by a player holding 6A which would give him 6543A.
Another thing to be aware of under 6432A rules is that you will never make the absolute nut low if your have to play a 5 from your hand. That does not mean that you should not play low cards that include a 5. In fact, in a game like Thirty-Two which requires the use of 3 hole cards, having a 5 as your highest low card (eg 542) can certainly be a winner and is obviously superior to a 6 low like 62A.
In Omaha 8 or Better you hold hole cards of A2KK and as of the turn the board reads 348Q. At this point a qualifying 8 or better low is established and you have the best low hand currently possible (8432A), so you are anticipating winning half the pot. However, on the river an ace falls. While you still have 8432A as your low hand there are now 6 other holdings that will beat you (76, 75, 72, 65, 62, 52), plus another (82) that will tie you. What had once been the best low hand has now become merely the 7th best and virtually a guaranteed loser. You've been counterfeited.
In shared common card games you are in a very vulnerable position when starting with only the minimum number of low hole cards (ie. 2 low cards in Omaha, 3 low cards in Thirty-Two). There is a significant probability that 1 of your cards will appear on the board and ruin your low chances. Therefore, having the protection of additional low cards (such as 32A in Omaha), gives you a much better chance of making a winning low. Even if a single ace, deuce or trey falls you still have an excellent low. When you have more than the minimum number of low cards in your starting hand you have what is referred to as a protected low.
The number of players left in the hand. The more competition you have, the better both of your hands must be.
The amount of betting and raising. If you have been leading the betting with none of the other players raising you can feel more confident about declaring both ways. If other players are initiating the betting or raising and re-raising bets they probably have excellent hands. Be less likely to try to scoop under these circumstances.
Knowledge of your opponents. Is there a player in the game who will lay low with a monster hand and let other players do the betting and raising? If so you must be careful.
How powerful are your hands. Your most vulnerable hand is often your low hand. Even if you have the nuts you can still be tied and thus lose the entire pot. To declare both high and low against multiple opponents without the nut low is usually a risky proposition.
If you are involved in a hand in which another player has declared both high and low, it is usually incorrect to fold. There is usually enough money in the pot to make it correct to call just one more bet. This is especially true if you are the only competition in one of the directions. It is almost always true when that is the case and another player who has declared in the opposite direction than you leads out and bets into the both way player or raises the both way player's bet. That usually indicates that the other player feels they can beat or tie the both ways player. If they do, you win in the other direction regardless of your hand.
However, if another player who has declared in the same direction as you is the one betting or raising, you should continue only if you feel that you have a chance to beat his hand. You need not be 100% convinced of that, as there is usually enough money in the pot at the showdown that folding for one more bet is wrong most of the time.
Things get a bit more complicated when two or more players declare for both high and low. How the pot is split depends on whether or not there are other players in the game or not.
If there are no other players in the game the win both/lose both rule is ignored and splitting is made the same as if played with cards speak rules.
If there is another player(s) in the game the win both/lose both rule is maintained. If 1 of the "both ways" players wins both ways outright they are awarded the entire pot. If each of the "both ways" players lose or tie with any other player they are disqualified and win nothing. The pot is then split in the usual manner. Should there be only 1 other remaining player, that player wins the entire pot.
Having both the winning high and low hand, called scooping the pot, occurs infrequently, especially in a game that requires a declaration. Designating 6432A as the low hand also makes it more difficult to scoop. That means the pot is split the vast majority of the time. If there are other players going in the same direction as you, this becomes a very important factor in determining if you should bet and raise or simply check and call. If there is more competition in your direction than in the other you will not win as much as you risk. Here is an example: One player has declared high. You and 2 other players have declared low. If you bet and all the others call, the pot will increase by 4 bets. If you win, you will get back 2 of those bets (the other 2 goes to the high hand). You had one chance in 3 of winning, but were only paid off at even money. Unless you have a hand that you are confident will win, you should not bet or raise in this situation.
On the other hand, when there is less competition for your direction than the other direction it is to your advantage. For example: You and one other declare low. 3 other players declare high. A bet that is called by all adds 5 bets to the pot. While you have an even money (1:1) chance of winning, should you do so you will win 2.5 bets which is a 1.5:1 payoff.
Ties for low are not uncommon, especially if playing with wild cards. You need to be alert for circumstances that may tip you off to the probability that you and another player(s) have the same hand. When you are playing under declaration rules, you will typically win very little when you tie and can even end up losing money. It is usually foolish to bet and raise if you strongly suspect a tie. With cards speak a tie is not bad if you also have a decent chance of winning high. If not, you are in the same situation as declaration rules.
There are occasions where a tie is a virtual certainty, so you must be aware of them. For example, in Omaha 8 or better if the board shows something like 5432X you can be confident of two things: if you don't have the nut low you're going to lose and if you do have the nut low you are going to tie. With such a board 4 hands (A2, A3, A4, A5) make the best low. And, while with any of those hands you also would have a 5-high straight, you'd be beaten by 5 other hands (62, 63, 64, 65, 67) that make 6-high or 7-high straights.
When you are playing poker games that require a certain minimum for the low hand like Omaha 8 or Better or 7 Card Stud 8 or Better you cannot rely solely on low cards. You also need options for winning high just in case you don't make a low hand that qualifies. You can liberalize your high hand starting card standards and be more conservative with low draw starting hands. If all you have is a potential low hand it can cost you a lot of bets while you wait and hope a qualifying hand materializes. It may not, and you are competing for only half the pot. Incidentally, sometimes players forget they need a qualifying low, so make sure that low hands are always shown and actually do qualify. When there is no qualifying low hand the whole pot is awarded to the high hand.
If a high-low split game gets down to just 2 remaining players an opportunity to chop the pot occurs. Provided both players agree, rather than playing on to the showdown, they may just split the pot. An exception to this may occur in games that require a minimum qualifying low hand (eg. Omaha-8). If the board is such that a qualifying low hand is not possible the hand is played out to the showdown and the entire pot awarded to the highest hand.
When playing high-low split or if 2 or more players tie for a hand, often an odd chip will be left over and it will not be possible to split the pot evenly. Designate a consistent method for awarding that odd chip. Possible ways of doing it are: The odd chip always goes to the high (or low) hand. The odd chip always goes to the player closest to the left of the dealer. Another alternative could be that any odd chip is left for the pot of the next hand.
When playing high-low split or low only poker games information identifying the probability or odds for low poker hands is extremely important to know. Although it is often very difficult to find, especially for 6432A rules, we have it here.
Approximate percent probabilities of being dealt the following LOW hands in 2, 3, 4 or 5.
6432A as the best hand. Straights and Flushes disqualify low hand. Approximate probability of being dealt these LOW hands in 5 cards. The probability of being dealt any single unpaired 5 card hand is slightly less than 0.04%.
6432A as the best hand. Straights and flushes disqualify low hand.
Approximate probability of being dealt these LOW hands in 7 cards (eg. 7 Card Stud High-Low or Razz).
* Excludes hands which make a straight or flush.


Explanation: A Full Moon sets as the Solstice Sun rises in this June 20 dawn skyscape. Captured from a nearby peak in central California, planet Earth, the scene looks across the summit of Mount Hamilton and Lick Observatory domes on a calendar date that marks an astronomical change of seasons and hemispherical extremes of daylight hours. Earth's shadow stretches toward the Santa Cruz Mountains on the western horizon. Just above the atmospheric grey shadowband is a more colourful anti-twilight arch, a band of reddened, backscattered sunlight also known as the Belt of Venus. The interplay of solstice dates and lunar months does make this solstice and Full Moon a rare match-up. The next June solstice and Full Moon will fall on the same calendar date on June 21, 2062.


text:
Sally Takes Three - Part...
Written by Anonymous
Sally takes three - Part 1
They could not keep their hands off Sally, even in the pub they were stroking her thighs and bottom...
Previous story in series: April 2017 - Meeting 1 - Sally is shared for the first time
Those that know me are aware that I have a very long bucket list of things that I want Sally to experience. I have been so lucky to have persuaded her to sleep with other men and even for it to become a relatively normal part of her life. I have been planning on adding a third guy to the mix for months. My friends and Sally's fuck buddies, Brian, Ian and I first sat and discussed how we would do it back in June this year and have been plotting every since. My theory was that if it were two guys with me that she knew, had fucked and and was comfortable with she would be more accepting of the scenario.
Sally's reluctance for adding more guys is based on the fact that in a one on one sexual relationship, even with a stranger, that sexual gratification is mutual. That most guys would reciprocate and try to pleasure her as much as she pleasures them. However, with three guys sex becomes more one way. She is being used for sex, a sexual object. This view is difficult to argue against, but as I keep telling her, guys come to fuck her and not for her wit and engaging conversation. Harsh, but true.
I am always as up front with Sally as I can be. I might have my motives, but trust is very important in our relationship. I had told Sally that this is what I wanted her to experience and how it might play out. I put the onus on her to solve the problem. She avoided the question for a while, but I am patient and persistent and made subtle suggestions and she finally agreed to invite Brian and Ian together.
I had arranged to meet both guys in the pub around 3pm. It was a gorgeous early autumn day, temperatures up to around 20 degrees and Sally was wearing a summer dress and sandals. We sat outside enjoying the sun and having a drink. My heart was beating out of my chest when they arrived almost within 5 minutes of each. We are all very good friends these days. Sally has fucked both men many times over the past year and so this was not in the slightest bit awkward. We got drinks in and settled down for an hour enjoying the weather and of course gorgeous Sally. Sally had been a bit distant this morning, probably her mind on the afternoon ahead, but with a couple of glasses of wine inside her she was now relaxed and smiling.
The banter was crude and sexual from the off and the guys and me were keen to get back to the house to get started. They could not keep their hands off her, even in the pub they were stroking her thighs and bottom as discretely as possible. We got back to the house and immediately headed up stairs. Sally and the guys were naked in minutes and Sally had assumed a position on the bedroom floor and was already sucking them off when I came into the bedroom with my camera. I got in on the act and for the first time Sally now had three eager cocks to satisfy and we all needed satisfying.
I had asked only two things from the evening, 1/ To fill all her holes and 2/ That the first time we each shot our loads one after the other into her mouth for her to swallow. I know that sounds like the plot of a porn film, but I have always been amazed at how those porn girls can take that much cum like that. I wanted to see Sally do it. I had even asked them both to try and refrain from cuming for a few days so their balls would be full and heavy. I had even done the same, which is not easy when you have a woman like Sally who has a high sex drive. Timing was good, I had worked late on Tuesday evening, I was also out on Wednesday night for a work event, Sally had spent the night with Lee on Thursday night and Sally had gone out with the girls on Friday night. I had a good 5 days stored up and I am a heavy cummer anyway. The guys had agreed and that was the plan.
Before the cum scenario though Sally was going to get fucked by each of us in all her holes. She knew it was going to happen and she was her usual passive and compliant self. It started off a bit of a frenzy all of us jockeying for position. She was on the bed on her back while Ian fucked her pussy first and Brian and I had our cocks sucked. Then changed so Brian was fucking her, then I got my turn while the two guys tried to put both their cocks in her mouth. I have to be honest we did use her and it was a one way sexual gratification. We fucked her hard and rough!
Yes it happened after about 30 minutes. I laid on the bed and Sally climbed on top so I was in her pussy, Brian positioned himself behind her and fucked her arse and Ian stood astride my head and had her suck his cock. The first time she had all her holes filled together. We were relentless and she did use our safe word at least 3 times to either get her breathe or change position. To be honest the position always ended up being with all her holes filled. We just kept rotating round.
I was really struggling on not cumming and had to keep stopping to prevent myself from dumping my load to early. Luckily Brian was in the same position and well over an hour after we started Brian was the first to cum in her mouth. Brian was fucking her pussy at the time and I was standing by the bed with Ian kneeling on the bed on the other side as Sally sucked our cocks one after the other. Brian suddenly jumped up, stumbled off the bed, banged his knee on the bedstead, swore loudly and then handing me off Rugby style aimed his cock in Sally's general direction. The first cum shot somehow missed Ian, but he got a better position and the remainder went into her mouth. I was smiling to see that Brian pumped an impressive cum load onto her tongue. I instructed her firmly not to swallow. She obeyed pulling some funny faces as she swilled his cum in her mouth. Ian had gotten out of the way quickly and by the time Brian had finished he was already pushing his cock into Sally's pussy.
All this was to much for me and I resumed my position by the bed and wanked off directly over her head. Her head was bobbing back and forth as Ian fucked her enthusiastically. A couple of minutes later I was cumming myself. I am not much of a squirter when I cum. It is more like turning on a tap and I was gushing my load into her open mouth. Even Sally was surprised and gargled a shriek as I just kept pumping my semen coating her tongue. I stood back and admired my work. Her open mouth was now an ocean of milky white semen. Sally was pulling all kinds of funny faces and I could tell she was keen to get this over with. Ian was last and a few minutes later he withdrew his cock and with a great deal more elegance than Brian straddled Sally's head kneeling above her on the bed and aimed his cock into her mouth. Three very heavy cum loads swilling around in her mouth. Ian got off the bed and Sally sat up resting on her elbows and without any instruction swallowed in three gulps with accompanying disgust on her face. She even showed us that her mouth was empty. At that moment she dashed off to the bathroom fearing she was going to be sick.
In the aftermath, Brian was now nursing a very bruised and painful knee and Sally stayed in the bathroom trying not to be sick. Not quite part 2 that we wanted so Ian and I decided to give Sally a break and got changed and headed back down to the pub to enjoy the sunshine before getting another go on Sally.
Next story in series: April 2017 - Meeting 1 - Sally is shared for the first time
Tags: busty, housewife, mmf, wife sharing, wife watching


text:
Q: Проблема кодировки и отображения содержимого при парсинге(питон) Люди добрые, подскажите, пожалуйста) я новичок, прошу камни в меня не кидать))
Хочу запарсить сайт, столкнулся одновременно с двумя проблемами, делаю по примеру как с ютуба
но получаю ошибку енкодинга и не могу понять работает метод prettify() или нет, но похоже что нет. При таком коде вот такая ошибка
    #!/usr/bin/env python3
    # -*- coding: utf-8 -*-

    import urllib.request
    from bs4 import BeautifulSoup
    import csv

    def get_html(url):
        response = urllib.request.urlopen(url)
        return response.read()

    def parse(html):
        soup = BeautifulSoup(html, 'html.parser')
        div = soup.find('div', class_='col-md-8 col-left')
        print(div.prettify())

    def main():
        parse(get_html('сайт'))

     if __name__ == '__main__':
         main()

    #!/usr/bin/env python3
    # -*- coding: utf-8 -*-

    import urllib.request
    from bs4 import BeautifulSoup
    import csv

    def get_html(url):
        response = urllib.request.urlopen(url)
        return response.read()

    def parse(html):
        soup = BeautifulSoup(html, 'html.parser')
        div = soup.find('div', class_='col-md-8 col-left', encoding='utf-8')
        print(div.prettify())

    def main():
        parse(get_html('тот же'))

     if __name__ == '__main__':
         main()

тогда выдает ошибку такую уже:

Собственно вопрос, добавив енкодинг на 17 строке, я исправил ошибку кодировки?
И если да, тогда вопрос второй почему метод prettify() не работает?
Делал без этого метода просто в maine писал print(parse(get_html('ссылка на сайт'))) и в ответ программа выдавала None
Вопрос где я нагрешил?)) Извините, что вопрос наверное глупый, но все же)) Спасибо!)

A: Вопрос решен, точнее сказать, обошел я его.
Переустановил питон, снес студию, поставил пачарм. все работает
Видно при установке прошлый раз питона, съехали кодировки. Это не точно. Но банальная переустановка языка и смена IDE помогла.

redpajama_set_name: RedPajamaStackExchange


text:
Q: Get shelf clean version Is there a way to get a shelved version "as is", without any regard to current client version? I did "undo all pending changes", then unshelved, and still the end result was a merge between my previous version, and the shelved one.

A: Shelve what you've got checked out but uncheck "preserve pending changes locally". So your workspace is now clean, then unshelve the other shelfset.
Or just setup another workspace.
Or click "My work" then suspend and then unshelve the other shelfset.
Lots of ways to do it.


text:
//---------------------------------------------------------------------
// <copyright file="ComplexInstance.cs" company="Microsoft">
//      Copyright (C) Microsoft Corporation. All rights reserved. See License.txt in the project root for license information.
// </copyright>
//---------------------------------------------------------------------

namespace Microsoft.Test.Taupo.Astoria.Contracts.OData
{
    using System.Collections;
    using System.Collections.Generic;
    using System.Globalization;
    using System.Linq;
    using Microsoft.Test.Taupo.Common;

    /// <summary>
    /// Represents an instance of a complex type
    /// </summary>
    [System.Diagnostics.CodeAnalysis.SuppressMessage("Microsoft.Naming", "CA1710:IdentifiersShouldHaveCorrectSuffix", Justification = "IEnumerable is just for easy construction. Type is not really a collection")]
    public class ComplexInstance : TypedValue, IEnumerable
    {
        /// <summary>
        /// The collection of property values.
        /// This is not exposed publicly to enforce use of Add/Remove methods
        /// </summary>
        private List<PropertyInstance> properties = new List<PropertyInstance>();

        /// <summary>
        /// Initializes a new instance of the ComplexInstance class
        /// </summary>
        public ComplexInstance()
            : this(null, true)
        {
        }

        /// <summary>
        /// Initializes a new instance of the ComplexInstance class with the given values
        /// </summary>
        /// <param name="fullTypeName">The full type name of the value</param>
        /// <param name="isNull">Whether or not the value is null</param>
        public ComplexInstance(string fullTypeName, bool isNull)
            : base(fullTypeName, isNull)
        {
        }

        /// <summary>
        /// Gets or sets the property values for this complex type
        /// </summary>
        public IEnumerable<PropertyInstance> Properties
        {
            get
            {
                return this.properties.AsEnumerable();
            }

            set
            {
                ExceptionUtilities.CheckArgumentNotNull(value, "value");
                this.properties.Clear();
                value.ForEach(p => this.Add(p));
            }
        }

        /// <summary>
        /// Gets a string representation of the annotation to make debugging easier
        /// </summary>
        public override string StringRepresentation
        {
            get
            {
                return string.Format(CultureInfo.InvariantCulture, "{0} {{ {1} }}", this.FullTypeName, string.Join(", ", this.Properties.Select(p => p.StringRepresentation)));
            }
        }

        /// <summary>
        /// Adds the given property to the complex instance, and sets it as the property's parent
        /// </summary>
        /// <param name="toAdd">The property to add</param>
        public void Add(PropertyInstance toAdd)
        {
            this.properties.Add(toAdd);
        }

        /// <summary>
        /// Removes the given property, if present, and sets it's parent to null
        /// </summary>
        /// <param name="toRemove">The property to remove</param>
        public void Remove(PropertyInstance toRemove)
        {
            this.properties.Remove(toRemove);
        }

        /// <summary>
        /// Replace the old property with a new property
        /// </summary>
        /// <param name="oldInstance">The old property to be replaced</param>
        /// <param name="newInstance">The property to replace the old one</param>
        public void Replace(PropertyInstance oldInstance, PropertyInstance newInstance)
        {
            this.properties[this.properties.IndexOf(oldInstance)] = newInstance;
        }

        /// <summary>
        /// This method is not supported and throws <see cref="TaupoNotSupportedException"/>
        /// </summary>
        /// <returns>This method never returns a result.</returns>
        public IEnumerator GetEnumerator()
        {
            throw ExceptionUtilities.CreateIEnumerableNotImplementedException();
        }

        /// <summary>
        /// The Accept method used to support the double-dispatch visitor pattern with a visitor that returns a result.
        /// </summary>
        /// <typeparam name="TResult">The result type returned by the visitor.</typeparam>
        /// <param name="visitor">The visitor that is visiting this element.</param>
        /// <returns>The result of visiting this expression.</returns>
        public override TResult Accept<TResult>(IODataPayloadElementVisitor<TResult> visitor)
        {
            return visitor.Visit(this);
        }

        /// <summary>
        /// The Accept method used to support the double-dispatch visitor pattern with a visitor that does not return a result.
        /// </summary>
        /// <param name="visitor">The visitor that is visiting this element.</param>
        public override void Accept(IODataPayloadElementVisitor visitor)
        {
            visitor.Visit(this);
        }
    }
}


THE Kerry Stokes-controlled Seven Group Holdings has made another big purchase of Beach Energy shares in a move that will make it one of the energy company's biggest holders.
But it is understood Seven Group has eyes for Beach only as a passive investment, rather than to be making purchases ahead of a planned takeover.
Seven Group was behind a big block trade in the shares yesterday at well above the market price.
Seven Group had already taken a position of up to 5 per cent position in Beach this week before the block trade, meaning a substantial shareholder notice confirming the purchase is expected early next week.
At 4pm yesterday, a block of 30 million shares, or 2.3 per cent of the company's equity, changed hands for $1 a share.
That was well above both the 95c price the shares were trading at when the trade was made and the 96c the shares settled at yesterday.
Seven Group has gone to ground on its intentions for Beach after it was outed on Thursday evening as having purchased up to 5 per cent of the stock.
But it is understood the company is focused on bedding down its recent $200m acquisition of Nexus Energy before making any other major energy acquisitions.
Seven Group has a $900 million investment portfolio, so for it to buy big stakes in a company is not unusual.
Shares in Beach, which has a market value of $1.25bn, rose 7 per cent yesterday after the initial Seven Group purchases were revealed. Consolidation of the Cooper Basin, where Adelaide-based Beach is the main player after Santos, has been flagged for some time.
The impact of the sliding oil price on share prices has increased talk of a takeover, although it will also reduce the ability of potential acquirers to conduct a takeover.
Beach shares have fallen nearly 50 per cent in the past six months, in line with the decline in oil prices, meaning it is one of the most exposed larger stocks to an oil price rebound.
Even the $1 price the block trade went through at is a lot cheaper than the average analyst target price of $1.19, indicating the leverage the stock has if oil prices rebound like most forecasters expect.
Beach is in a good position to supply a looming east coast gas supply shortage as $70bn of LNG plants ramp up at Gladstone over the next two years but has a large amount of its gas linked to oil prices. "Similar to Santos, the leverage makes it very interesting when oil turns, but without the balance sheet and operational issues caused by GLNG," Credit Suisse analyst Martin Kronborg said in a note to clients yesterday.
He estimated the company's oil-linked gas contracts made its total break-even oil price worth about $50 a barrel.


Based on the latest Sisk data, here are the twenty most-cited constitutional law professors in the U.S. for the period 2013-2017 (inclusive) (remember that the data was collected in late May of 2018, and that the pre-2018 database did expand a bit since then). This time around I've defined the "constitutional law" category a bit more carefully and also checked more carefully the percentages of citations that appear to be in the field for some highly-cited scholars; I will also be expanding the other public law coverage to reflect contributions that belong more clearly to, e.g., administrative law, legislation etc. (I will also be adding a separate ranking for election law). Numbers are rounded to the nearest five. Faculty for whom 75% or more of their citations (based on a sample) are in this area are listed; others with less than 75% of their citations in this field (but still a plurality) are listed in the category of "other highly cited scholars who work partly in this area."
*Adjusted downwards by 5% based on a sample (to arrive at 1205) to reflect cites to blog posts unrelated to his scholarship (many blog posts were in fact related, those were not excluded).


^ Hardy, Ernest. Middle of Nowhere Director (and Former Rapper) Ava DuVernay on the Future of Black Film. LA Weekly. October 11, 2012 November 24, 2014.
^ Ava O Duvernay. FamilySearch. October 30, 2014.
^ Demby, Gene. Sundance 2012: Ava Duvernay Becomes First Black Woman To Win Best Director Prize For Middle Of Nowhere. Huffingtonpost.com. January 30, 2012 January 30, 2012.
^ Brooks Barnes. Market for Films Signals Good, Not Great, Year for Sundance. The New York Times. January 27, 2012 February 24, 2012.
^ Manohla Dargis. Amazing Child, Typical Grown-Ups. The New York Times. January 27, 2012 February 24, 2012.
^ Kirsten West Savali. Straight Outta Compton: Ava Makes Black History At Sundance!. Newsone.com. January 29, 2012 February 24, 2012.
^ Myers, Scott. Interview: Ava DuVernay — Part 1. Go Into the Story. June 10, 2013 November 24, 2014.
^ Farabee, Mindy. Ava DuVernay no longer in 'Middle of Nowhere'. Los Angeles Times. December 20, 2012 November 24, 2014.
^ Golden Globes: 'Selma's' Ava DuVernay Becomes First Black Woman to Receive Director Nomination. The Hollywood Reporter. December 11, 2014 December 11, 2014.
^ King, Susan. For Ava DuVernay, making 'I Will Follow' is personal. Los Angeles Times. March 11, 2011 November 24, 2014.
^ Zeitchik, Steven. 'Selma's' Ava DuVernay walks in King's footsteps. Los Angeles Times. October 31, 2014 November 24, 2014.


Literature References: Prepn: US 1622129 (1927); cf. Herzog, Arch. Pharm. 263, 216 (1925). Acute toxicity: Maloney, J. Pharmacol. Exp. Ther. 42, 267 (1931).
Properties: Crystals. mp 177-179°. Slightly bitter taste. Slightly sol in water; freely sol in alcohol, glacial acetic acid, acetone, alkalies. Sparingly sol in ether, chloroform, benzene. MLD orally in rabbits: 300-350 mg/kg (Maloney).