I was super excited to see the 2014 Pantone Color of the Year, Radiant Orchard. I am eagerly awaiting to see how everyone incorporates this color over the next year, but until then I found some Boston Handmade members who have been using the color already.
Lady Dye has a beautiful hand dyed yarn that incorporates the color of the year.
Cristina Hurley has created a pedant that quickly become a favorite with every outfit.
The Patterned Peacock has this amazing print that will make a statement in any room.
And your pup can show off their stylish side in a collar by Cody's Creations.
Are you excited for this years color? What can't you wait to see in this hue?


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Thursday | December 8, 2022
Sens. Scott, Booker, Warnock Pass Resolution Celebrating Senate Black Legislative Staff Caucus' 45th Anniversary
WASHINGTON – This week, the Senate unanimously passed Senators Tim Scott (R-S.C.), Cory Booker (D-N.J.), and Raphael Warnock's (D-Ga.) resolution celebrating the Senate Black Legislative Staff Caucus' 45th Anniversary.
"Congratulations for reaching this incredible milestone. The mission of the Senate Black Legislative Staff Caucus is rooted in diversifying Capitol Hill—bringing people from all walks of life to help our nation's leaders better understand who we are serving." said Senator Scott
"For decades, the Senate Black Legislative Staff Caucus has served as an important community and support system among Black Senate staffers and I am proud to help commemorate the 45th anniversary of this incredible group. Those who represent us in government should reflect the rich diversity of our nation. Increasing diversity within the Senate is a goal we all should strive for," said Senator Booker.
"For 45 years, the Senate Black Legislative Staff Caucus has provided crucial resources and support to recruit and develop Black congressional staff," said Senator Reverend Warnock. "I'm proud to congratulate the SBLSC —a pillar in the effort to ensure that the staff who shape our laws be as diverse as the country itself."
Read our resolution here.
The Senate Black Legislative Staff Caucus is a professional and social network for Black legislative staff in the United States Senate. Established in 1977 as a non-partisan, official staff organization, SBLSC is the oldest congressional staff caucus on the Hill. SBLSC's goal is to build a sense of community and support among minority Senate staffers by increasing diversity and access to resources in the Senate. SBLSC also provides professional resources and programming to ensure that staffers are successful.
This resolution honors and celebrates the vision, foresight, and legacy of Jackie Parker and Ralph Everett which sought to cultivate a Senate culture that reflects America.

redpajama_set_name: RedPajamaCommonCrawl


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Rio Film Festival unveils 2016 line-up
The Untamed and Toni Erdmann will screen at the 18th edition of the Brazilian event next month alongside tributes to the late David Bowie and Prince.
All in all 250 films from more than 60 countries in 15 sections will screen in 20 venues, including the new Olympic Boulevard unveiled for the recent summer Olympics.
Three new sections debut at this festival, which runs from set to run from October 6-16.
Cinema Marginal explores two critical Brazilian film movements, while Universal Monsters features seven restored Universal classics, and Wanderer Artists includes a tribute to Brazilian plastic artist Tunga.
Programmes include World Panorama, Première Brasil, Première Latina, Expectations, Generation, Midnight Movies & Docs, Frontiers, Threatened Environment and Unique Itineraries.
World Panorama selections include Ken Loach's I, Daniel Blake and Mare Ade's Toni Erdmann and Cristi Puiu's Sieranevada.
Premiere Latina includes Venice selections The Blind Christ (Chile-France) by Christopher Murray's and Amat Escalante's The Untamed (pictured), as well as Gastón Solnicki's Kékszakállú (Argentina), and Sebastian Borensztein's Koblic (Argentina-Spain).
Midnight Movies includes a trio of films inspired by or featuring recently departed music icons David Bowie and Prince: The Hunger, Purple Rain and Sign O' The Times.
Among the Cinema Marginal selections are Cacá Diegues' 1966 film A Grande Cidade, Nelson Pereira dos Santos's Fome de Amor from 1968, Walter Lima Júnior's 1971 film Na Boca da Noite, and Elyseu Visconti's film of the same year, Os Monstros de Babaloo.
Screenings include the opening weekend world premiere screening of Steven Bernstein's Dylan Thomas drama Dominion starring actor Rhys Ifans, Romola Garai and John Malkovich.
The RioMarket will run from October 5-12 and comprises networking, acquisitions and co-production opportunities, as well as more than 50 panels and 20 workshops and masterclasses. Areas of coverage include TV, fashion and film, and advertising.
For the third year the Felix Award will be given to the film that best recognises LGBT themes from a selection of 28 features chosen by an official jury. International model Lea T. will collect the Suzy Capó award as Felix Personality Of The Year.
To see the full line-up, click here.
FilmSharks snaps up Sundance premiere 'High Tide' (exclusive)
Argentinian thriller screens in World Cinema Dramatic Competition.
Shoreline acquires sales rights to Peruvian tragicomedy 'The Restoration' (exclusive)
Gustavo Rosa, Carolina Denegri roduced tragicomedy.
Admissions reach record levels in Colombia in 2019 (exclusive)
Monos first non-comedy to lead local-language chart in 10 years.
Munich: Director Linus de Paoli talks 'A Young Man with High Potential'
The German director says he is inspired by the genre-defyng work of Lars on Trier.
Munich: New-look Tobis developing German remakes of Euro romantic comedies
Spain's 'It's Now Of Never' and Argentina's 'No Kids' to be relocated to Germany.
Munich: Constantin Film threatens to relocate to Berlin and Cologne
CEO Martin Moszkowicz uses Twitter to critiise the cost of living in Munich.


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No matter how stunning and attractive the decoration of your house is, if the walls are dull and dull, it will mar the appearance of the space. Having a stunning house, is a lot about having the very best colours, surfaces and textures on your walls. Though some property owners try DIY painting, it's not an easy task. It can be very messy and time-consuming process . This is precisely why you must work with the services of specialist professional painters Pagewood 2035.
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We offer the very best and most expert and cost-effective painting & decorating services that are created to enhance your house in Pagewood and provide you interiors that you and your family will enjoy to reside in. We use the premier painting & decorating equipment and products which ensures that your walls look beautiful for years to come.
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A new boutique candy store has opened its doors in the neighborhood. The new addition to Los Feliz, called Tuesday's Sweet Shoppe, is located at 1937 1/2 Hillhurst Ave.
The family-owned spot comes courtesy of Michael and Emily Roiff, the store says on its website, along with Emily's brother Alan and the candy shop's petite namesake -- Roiff's 3-year old daughter, Tuesday.
Over 170 candy varieties are on offer, with options ranging from chocolates and saltwater taffy to sour rings and cotton candy by the bucket.
With a 4.5-star rating out of five reviews on Yelp so far, the new candy store seems to be a welcome addition to the neighborhood.
Mariana P., who reviewed the new shop on July 1, wrote, "The nostalgic scoop candy shop of my dreams! ... Now I can fill a bag with a tangy tangle of sour belts from the impressive array of flavors, neatly stowed in pristine clean beautiful drawers -- great design!"
"Oh man, this is the best candy shop I've ever been to," stated Yelper Kara B. "It's so happy inside and there are so many amazing options! Make sure you try the chocolate-covered gummy bears."
Swing on by to take a peek for yourself: Tuesday's Sweet Shoppe is open from 11 a.m.-7 p.m. on Monday-Thursday, 11 a.m.-9 p.m. on Friday and Saturday, and 10 a.m.-6 p.m. on Sunday.


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<Not just about books: Melbourne Writers Festival 2013
Meld's guide to moving back home>
So, Where Are You From? International student issues conveyed through theatre
Elizabeth Yickon August 20, 2013 /0 comments
THOUGH frequently misunderstood, "So, Where Are You From?" is a theatre production that aims to shed light on the woes of international students. Elizabeth Yick spoke to the show's creative director Catherine Simmonds to learn more about it.
International students are the focal point of this theatre production. Image: Supplied.
"So, where are you from?" – it's a question heard often by those who possess a non-Caucasian appearance.
For some international students, however, this innocent-enough question can become loaded both by the weight of a complicated backstory in their home country, and the concerns and worries outside of their student life in Australia.
What is life like in the eyes of an international student? Is it about the freedom away from family, or the experience of a different culture? Or is it about studying hard to attain a better life, or a temporary asylum away from the political complications at home?
These questions and more are the subject of So, Where Are You From?, a production devised, compiled and directed by Catherine Simmonds in collaboration with international students from La Trobe University. In conjunction with La Trobe International and La Trobe Student Theatre, the play is written and performed by 12 international students who bring down the walls of stigmatism and stereotypes to look into the mirror of each other's stories.
These are the stories experienced by people personally, and in a way, the journey is this process of ownership by the students of their experiences."
Interestingly, many of these students have never before performed in theatre, and they will not be performing to a pre-written script.
Instead, they are acting out a semi-autobiographical illustration of their experiences from the past.
Ms Catherine Simmonds, writer-director of the production and an experienced community cultural development facilitator, spoke to Meld about how the production has developed from a series of workshops for international students at La Trobe.
"I do a lot of workshops with these students, and from the first session, one of the things we got was a strong sense of cultural diversity. In these workshops, I ask lots and lots of questions, and I develop and foster a sense of openness and trust, and you can see people beginning to open up," Ms Simmonds explained.
"I don't tell people what to do, and I don't force anyone to do anything. In a way, what this production has become is a sum of the people involved… the script is still developing – it is the last thing to come. These are the stories experienced by people personally, and in a way the journey is this process of ownership by the students of their experiences."
Social Importance
So, Where Are You From? is more than just a play – it explores what it means to be an international student. There is more than one answer to the question, which is precisely what the production considers.
"This is socially important work – it has people from many parts of the world interacting, and mostly we are ignorant of each other's worlds."
"This production is about cultural assumptions, national identification, racism and the stereotyping of international students… the performance becomes socially relevant to a wider audience, because international students are more than just a transient community – they are not just a community that brings funds into the university."
She also touched on the needs of international students whilst studying abroad.
"Many of these students are here for four years or more, and they become part of the social fabric; they are people with the need for social interaction and for cultural development."
Ms Simmonds hopes that the production will be an avenue for empowerment for international students, as well as a space for them in advocacy of issues.
"Life is made of the sad and the happy. There are some sad stories, but that is because they are sad; there are some tragic moments, because they have occurred. Perhaps one of the mistakes we make socially is that we feel the need to present only our 'happy strong face'… and in a way this work can be therapeutic for the stigma and the silence around certain issues."
Friday, August 23 – 8pm
Saturday, August 24 – 8pm
Sunday, August 25 – 6pm
Tuesday, August 27 – 8pm
Wednesday, August 28 – 8pm
Where: Studio 2, Northcote Town Hall, 189 High St, Northcote
Cost: $10, $7 concession, $5 La Trobe Student Union members
Tickets may be booked by calling the La Trobe Student Theatre and Film Office on (03) 9479 1198.
Be You – Be Scene: Helping international students speak out through theatre


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Kichenside Glacier
Kichenside Glacier (67°46′S 47°36′E) is a glacier, 15 nautical miles (28 km) long and 3 to 5 nautical miles (6 to 9 km) wide, flowing northeast into the southern part of the Hannan Ice Shelf on the coast of Enderby Land, Antarctica. It was charted from air photos taken from an Australian National Antarctic Research Expeditions aircraft in 1956, and was named by the Antarctic Names Committee of Australia for Squadron Leader James C. Kichenside, RAAF, officer commanding the Antarctic Flight at Mawson Station in 1960.
Map of Kichenside Glacier, Antarctica
Kichenside Glacier Wikipedia
Gentlemen of Nerve
Lee Blackburn
Al Cole


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Aise hi buying ke deewano or trend ke time me apne liye perfact brand ki chijo ki shopping karne ke liye top 10 website ke baare me iss submit me full particulars di gyi hain jisse Deewali ke fastival me apne liye procuring kar sakte hain ya kisi mates family member ke liye buying karke unhe items kar sakte hain. As an instance I'm up for an afterwork beer, then I choose the beer from the checklist and all my friends know what I'm up for and can be part of. Known as eBay Classifieds throughout the United States but rebranded in different nations (ie; Canada is Kijiji and Australia is GumTree) this network is sort of massive thanks to having the ability of Ebay behind the platforms.
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text:
Tecogen Announces Additional Project Wins from National Mechanical Services
Total relationship now valued in excess of $1.5 million
WALTHAM, Mass., July 26, 2016 /PRNewswire/ -- Tecogen® Inc. (NASDAQ: TGEN), a leading provider of cost efficient, clean and reliable products for power production, heating and cooling which, through patented technology, nearly eliminate criteria pollutants and significantly reduce a customer's carbon footprint, today announced additional project wins from National Mechanical Services. The two new projects bring total relationship value with the expert contractor to in excess of $1.5 million.
For over 40 years National Mechanical Services, now part of The Metro Group, has been an industry-leading mechanical contractor that specializes in heating and cooling equipment replacement, 24/7 service, and heating system redesign for customers in the New York tristate area. The new projects include two reliable CM-75 kW units for a 454-unit multi-family residential building in Yonkers, NY and a state-of-the-art InVerde e+ 100 kW unit for a 14-story student housing building near Central Park in New York City, NY. Both projects include Tecogen's factory engineered load modules as well as various engineered accessories, customized to meet the contractor's exact specifications and speed installation.
"National Mechanical has been a solid partner for Tecogen. Their experienced project managers understand heating and cooling systems and the benefit that combined heat and power can bring to a building; both in terms of savings for the customer as well as additional services like electricity and emergency backup power not provided by a traditional boiler solution. We look forward to building on our strong working relationship now that National Mechanical is part of The Metro Group," said Benjamin Locke, Tecogen's Co-Chief Executive Officer.
Tecogen's efficient combined heat and power ("CHP" or "cogeneration") units run on affordable and reliable natural gas. The equipment generates electricity from the gas-fueled engine and then recycles the free waste heat for use by the building's heating and cooling systems. Because waste heat is recovered from the electric power production process, the systems can achieve fuel energy utilization upwards of 90% with minimal losses – a level of efficiency that directly translates into savings for the customer.
In this way, buildings fitted with Tecogen's cutting-edge clean energy products not only enjoy significant and ongoing reductions in their utility bills, but also cut their building's carbon footprint in half.
About The Metro Group
The Metro Group Inc. is a water treatment and mechanicals sales, service and installation contractor. An industry leader for over 90 years, the company specializes in the multi- family residential, institutional and commercial market sectors. Comprised of "Best in Class" companies, like National Mechanical Services, The Metro Group provides services, repairs, installs, retro-fits, conversions, and equipment sales for thousands of large scale HVAC systems and water-based process systems. Additionally, the company is a leader in water-hygiene and water safety management. Operating throughout the Eastern Seaboard, Midwest, and through foreign distributors, The Metro Group has service contracts for thousands of buildings and performs over a hundred thousand Service visits per year.
Headquartered in Long Island City, NY, The Metro Group has a CDC Elite certified laboratory, its own chemical manufacturing plant where it manufactures its Trade Named products, as well as state and federal sanctioned licensing for the servicing of potable and HVAC water systems. The Metro Group operates the largest fleet of service vehicles for its markets sector in its target urban market places including over one hundred service vehicles aimed at the Metropolitan New York City market place.
About Tecogen
Tecogen® Inc. designs, manufactures, sells, installs, and maintains high efficiency, ultra-clean, cogeneration products including natural gas engine-driven combined heat and power, air conditioning systems, and high-efficiency water heaters for residential, commercial, recreational and industrial use. The company is known for cost efficient, environmentally friendly and reliable products for energy production that, through patented technology, nearly eliminate criteria pollutants and significantly reduce a customer's carbon footprint.
In business for over 20 years, Tecogen has shipped more than 2,300 units, supported by an established network of engineering, sales, and service personnel across the United States. For more information, please visit www.tecogen.com or contact us for a free Site Assessment.
Tecogen, InVerde, Ilios, Tecochill, Ultera, and e+, are registered trademarks or trademark pending registration of Tecogen Inc.
This press release may contain forward-looking statements under the Private Securities Litigation Reform Act of 1995 that involve a number of risks and uncertainties. Important factors could cause actual results to differ materially from those indicated by such forward-looking statements, as disclosed on the Company's website and in Securities and Exchange Commission filings. The statements in this press release are made as of the date of this press release, even if subsequently made available by the Company on its website or otherwise. The Company does not assume any obligation to update the forward-looking statements provided to reflect events that occur or circumstances that exist after the date on which they were made.
Tecogen Media & Investor Relations Contact Information:
Ariel F. Babcock, CFA John N. Hatsopoulos
P: (781) 466-6413 P: (781) 622-1120
E: Ariel.Babcock@tecogen.com E: John.Hatsopoulos@tecogen.com
Logo - https://photos.prnewswire.com/prnh/20130409/NE91281LOGO
To view the original version on PR Newswire, visit:http://www.prnewswire.com/news-releases/tecogen-announces-additional-project-wins-from-national-mechanical-services-300303891.html
SOURCE Tecogen Inc.


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Q: Prove that the nth-root of n! less than n/2 Proof that if $n\in\mathbb N$, with $n\geq6$ then $$\sqrt[n]{n!}\leq\frac{n}{2}$$
As of now, I can´t use derivatives, functions, and stirlings approximations, as the proofs for them havent been seen in my class or they were seen after this problem

A: By induction let's prove $n!\le\dfrac{n^n}{2^n}$ for $n\ge 6$.
For $n=6$ then $n!=720$ and $\dfrac{n^n}{2^n}=729$ so the inequality is verified.
Now let's assume the inequality true at rank $n$ then
$(n+1)!=(n+1)n!\le\dfrac{(n+1)n^n}{2^n}=\dfrac{(n+1)2n^n}{2^{n+1}}$
We have by binomial formula: $(n+1)^n=n^n+\binom{n}{1}n^{n-1}+\underbrace{...+1}_{>0}\ge 2n^n$
Thus $(n+1)!\le\dfrac{(n+1)(n+1)^n}{2^{n+1}}\le\dfrac{(n+1)^{n+1}}{2^{n+1}}$ and the induction step is verified.

A: As Ross Millikan commented, when you have problems involving factorials, using Stirling approximation makes life quite easy.
Consider $$\sqrt[n]{n!}\leq\frac{n}{2}\implies \frac 1n\log(n!) \leq \log(n)-\log(2)\implies\log(n!) \leq n\log(n)-n\log(2)$$ By Stirling approximation
$$\log(n!)=n (\log (n)-1)+\frac{1}{2} \left(\log (2 \pi )+\log
   \left({n}\right)\right)+\frac{1}{12
   n}+O\left(\frac{1}{n^3}\right)$$
Just continue.

redpajama_set_name: RedPajamaStackExchange


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Moscow arts centre to move to new site
by Pete Hayman | 03 May 2012
Image: A former restaurant will house the new centre
Garage Center for Contemporary Culture has announced plans to move to a new location at Gorky Park in Moscow, Russia, in the first of a two-phase development later this year.
The first stage includes the creation of a new temporary home designed by Rem Koolhaas' Office for Metropolitan Architecture (OMA) alongside Russia-based Form Bureau.
Due to open later this year, the new space will occupy the site of the former 1960s Vremena Goda restaurant, which has been left abandoned for more than two decades.
The temporary venue will feature a double height entrance space and two floors of galleries, as well as a creative centre for children, a roof terrace and learning facilities.
In the second phase of the move, the Garage will take over an adjacent 8,500sq m (91,493sq ft) pavilion first built in the 1920s and used as a pre-war exhibition space for Soviet artists.
The new space will become one of the most important non-profit, international arts sites in the Russian capital and will revitalise the Stalin-era Gorky Park along the Moskva River.
Among the aims of The Garage is to "raise the profile of contemporary Russian culture and to encourage a new generation of Russian artists".
Details: www.garageccc.com
Image: OMA
Image: A former restaurant will house the new centre Garage Center for Contemporary Culture has announced plans to move to a new location at Gorky Park in Moscow, Russia, in the first of a two-phase development later this year. The first stage includes the creation of a new temporary home designed by Rem Koolhaas' Office for Metropolitan Architecture (OMA) alongside Russia-based Form Bureau. Due to open later this year, the
AAC,VAT,ARC,DES,CLD
Alliance Leisure Services Ltd
The company's core business is the provision of facility development and support for local authorities, educational establishments and leisure trusts that want to improve or expand the leisure products and services they offer.
Wellness: Mountain magic
"Wellness embraces the entire holiday experience"
The design of the newly-opened Lefay Resort and Spa Dolomitti in Italy aims to celebrate and protect its spectacular surroundings
Interview: José Alminaña
"We are committed to designing evocative landscapes informed by the best environmental science"
The Andropogon principal on pushing the boundaries of landscape design for the benefit of humans and nature
Interview: Elizabeth de Portzamparc
"We need to stop the destruction of our world through predatory practices. We need to think of the future"
The architect behind Nimes' Musée de la Romanité on designing to counter loneliness and the need for more cultural buildings
New Opening: Dreaming big
Analysis: Better together
"Most clients are very focused on how buildings are used and experienced as the primary design driver"
The MD of Schmidt Hammer Lassen and the CEO of PerkinsWill tell us why their merger will help create smarter buildings driven by human behaviour
Landscape design: Back to nature
"When people are a bit scared, they gather together"
Featuring a vibrating glass platform and one of the US's longest tree canopy walks, Whiting Forest has been designed to bring visitors closer to nature and to one another
Sport: Everton FC reveals final Dan Meis designs


NORTHBROOK, Ill. and SAN FRANCISCO, June 17, 2015 /PRNewswire/ -- Astellas and Medivation, Inc. (NASDAQ: MDVN) announced today that the first patients have been enrolled in TRUMPET (Treatment Registry for Outcomes in CRPC Patients), a prospective observational patient registry designed to better understand the unique needs and treatment patterns for patients with castration-resistant prostate cancer (CRPC). The registry will enroll and evaluate 2,000 patients diagnosed with CRPC from urology and oncology sites across the United States. The study will also collect data from the primary caregivers of patients, including spouses, family members and/or friends.
"While there have been many treatment advances in prostate cancer over the past few years, there is still a great deal for us to learn. The insights from TRUMPET can directly impact our research and increase our understanding of important treatment considerations," said Jeffrey Bloss, M.D., senior vice president, Astellas Pharma Global Development, Inc. "This registry provides an important building block to support our commitment to providing effective, evidence-based cancer care for patients and their caregivers."
TRUMPET will follow patients with CRPC and participating caregivers for up to six years to gather information about the management of the disease, including patterns of care, treatment decisions and settings, and physician referral patterns. The registry will also track information about patient health-related quality of life outcomes, work productivity and treatment satisfaction, as well as caregiver health-related quality of life outcomes associated with managing a patient with CRPC.
"As a direct result of advances in therapies available to treat patients with CRPC, treatment decisions have become more complex than ever," said David F. Penson, M.D., M.P.H., chair, department of urologic surgery, Vanderbilt University Medical Center. "TRUMPET will expand our scientific understanding of CRPC to help healthcare professionals, patients and their loved ones make more informed decisions about their care."
TRUMPET is currently enrolling eligible patients and their caregivers; the study will be completed in 2020.
TRUMPET (Treatment Registry for Outcomes in CRPC Patients), is a prospective observational registry study designed to better understand the needs and treatment patterns for patients with castration-resistant prostate cancer (CRPC) in the United States. TRUMPET is assessing patient care patterns and does not evaluate any specific treatment or medication.


The L2-DW is made of quality translucent PC 2805 plastic material with precise manufacturing. It diffuses light softly and evenly. It is designed specifically for the L2-Series flashlights. The wide angle nature of the L2-DW makes it suitable for outdoor and camping illumination purposes. It can be used as a wand converter as well - simply put the L2-DW onto the L2-Series flashlights to make it.


Ep. 57: Willow - Can We Still Be Friends?
For some reason, something about November makes us want to watch movies with wizards. As per a listener suggestion, we're watching Willow, the 1988 George Lucas-conceived, Ron Howard-directed fantasy epic. For many people, Willow was a special part of their childhood, but in the pantheon of classic children's movies, Willow rarely seems to enter the conversation.
Listen in as we explore Willow's merits and absurdities and discuss whether it's something we'd pass on to our children.
Is Willow a part of your childhood? Does it still hold up? What is your favorite Willow memory? Let us know!
Tagged Fantasy, George Lucas, Ron Howard, Willow, Wizards.


This page was hacked, now fixed.
My sincere apologies, for a number of posts that appeared on this website this morning. If you are subscribed to the RSS feed you may have seen some of them in your RSS reader. These have now been deleted from the website. Please do not click on any links in these posts if you still have access to them for one reason or another.
It appears that someone used a common password guessing strategy to log in to a default 'admin' account on WordPress, using perhaps one of the many passwords that have been leaked as attached to my email addresses across various services over the last few years.
I've now fixed these vulnerabilities – deleted commonly named accounts and resetting passwords to not allow for this sort of brute-force hack.
Please change passwords often especially if you feel one of your passwords may have been leaked. This is even more critical if you share passwords across services.
For years Intel practiced dominance over the PC processor industry with a development cycle they called Tick-Tock. The model was a repetitive structure applied to processor innovation. Every "tick" made the processor technology smaller, every "tock" updated the architecture on the chip. The ticks were ultimately in the service of Moore's Law, a conjecture by Intel co-founder Gordon Moore affirming that the number of transistors on a chip would double roughly every eighteen months. The tocks used the die-shrinking and built parallel innovations on top. This mental model of how Intel was going to work systemized an outlandish, relentless struggle to grow computing power at an exponential pace, as Intel simultaneously improved efficiency.
In 2016, Tick-Tock was retired for a slower three-step cycle, as Intel ran up against the increasing physical and economic challenges of miniaturization. But the legacy of Tick-Tock is an enduring imprint on the modern technological industry – the blueprint of consistent, predictable, exponential growth. Tick-Tock, and the five decades of Moore's Law it helped uphold, are as Intel rightly describes, "the metronome of the modern world".
The microchip represents perhaps the single most powerful burst of innovation in human history. In some sense, it is a magical moonshot. But understanding it in terms of Intel's process reveals it to be a rhythmic, relentless struggle.
What this comes down to, is that the idea of an unwavering grind is on the surface not as enthralling as this imagined flare of brilliance. Ironically, the speed of development of modern technology, although driven by feats of steadiness, is pushing us further to crave an ephemeral, blazing high. And as we unconsciously grind through our own lives every day, we continue to arrest our imaginations with fables and dreams of tiny moments that changed everything. In the hope, perhaps, that the vision we imagine for ourselves is only but this moment away.
No one really talks about the first season of Coke Studio. Which is largely because it was quite weird, and no one, not even Coke, took it seriously enough to record it properly. The videos are grainy, and the audio doesn't even make it to streaming services.
But enduring still, is the strange, unpredictable impact of a strange experiment. The idea was to make eastern classical relevant and western pop interesting by putting the two together. This gave us a joyous Rangeen and a reverential Dhaani, but we really only remember two moments: Garaj Baras, and Allah Hu. Two singers came together in each, east met west, magic happened.
The second season was serious, and so the magic was thought through. Pop would be reworked in the frame of a raag, classical would be given the production and the backing band it deserved and never got. And once every episode (or thereabouts), two artists would play something together. Largely this collaboration was one half classical or folk, and one half pop. But this wavered now and then. Season 2 was consistent, sizable, pure magic. Really it built on ideas that had been tweaked the year before, which themselves came from ideas that had been toyed with for years before, but those years didn't make it to the Behind the Scenes videos.
As the years progressed the songs became more complicated. The raags took longer to set a mood before the song could reach any sort of climax. Reworkings of old songs made way for newer material, as the safety net of known tunes was no longer needed to dive into the experiment of fusion. The frame of the experiment became more rigid, and so the inputs themselves became more flexible.
Of course as the frame became more rigid, the show itself began to take on this unflappable funk of incremental grind. The magic seemed gone. We'd seen it all before. Except, it wasn't that we'd seen it all before, it's just that we'd felt a sort of high we wanted to feel again.
During the Rohail Hyatt years, the songs remain roughly the same length. A few epics appear in Seasons 4 and 5. But what becomes increasingly evident is a desire to explain more of what's happening in these songs. And by Season 6, clearly the most complicated of all of Rohail's years, it often takes longer to explain the song than to play the song itself. This explains, perhaps, the growing acceptance of Season 6 in retrospect and why it took longer for people to appreciate it.
Starker than this gradual march towards Season 6 however, is the clear departure from it in the Strings years. Strings made no secret of the fact that they agreed with general opinion, the magic was gone. They remembered the magic – Seasons 2 and Season 3. They were going to recreate it, and they modeled to a fault.
More than the length of the songs and the explanatory clips, Strings drew on everything that made the old Coke Studio feel magical – the two-artist collaborations, the rebirth of the country's biggest names in music, the nostalgia of refreshing old songs. Of course these elements were in service to a more invisible core framing and a more abstract higher purpose, but nobody thought they felt those bits.
And so Coke Studio 7 and 8 have more collaborations, with not much made of the original framing of east meets west. West can meet west, east can stay east. More of the music industry is on the stage, because while the song is important, we must also feel the warmth of Pakistan's biggest names coming together. A full-time falsetto man is added to the backing vocalists, the lights flash more often, montages play before the song starts. Oh, and you get a solo, you get a solo, you get a water cooler.
The new Coke Studio is a variety show. But really, the variety show is a facade for the fact that Coke Studio is an ad campaign. And a brilliant one at that. For years an ad campaign has captured our imaginations, and what can be more magical than that?
The new Coke Studio is trying very hard to search for the magic. The danger of course, is that the new Coke Studio can almost pander. Sohni Dharti, Rah e Haq Ke Shahidon, beautiful in their own way, but dangerously reminiscent of the old record company idea of 'every album must have a patriotic song'. This Coke Studio is a leg spinner bowling too fast, a one-day batsman trying to hit the ball too hard. It is desperate for magic.
In this desperation, Coke Studio presses on the soft nerves we all share: nostalgia, blind hope, trust, warmth. You only have to drive on Lahore's roads for a few days to realize that these are emotions short in Pakistan. On much of Lahore's Main Boulevard, traffic lights have given way to giant U-Turns. Traffic lights, the global mechanism for operating intersections, work on faith. To stop, you must believe that allowing others to pass makes your own journey smoother. But traffic lights don't work quite like that in Lahore. Nobody stops as the light turns red, to compensate you start creeping forward before the light turns yellow, and you start honking before that. All the while you must remember that you are stuck. A U-Turn may eventually make everybody slower – no one really knows. But through all of it you are never stuck, you always have the ability to fight your way through, and you never feel helpless. But despite it all, Lahore's traffic is not genial. And everyone remembers a better time. And to this traffic, on these roads, are the images of giant Coke Studio adverts all across the city. On the Cavalry Ground flyover you can see seven signs at the same time. To this traffic, and to these roads, Rah e Haq Ke Shahidon, the arrival of every musician anyone remembers, the reprise of every great hit, and every solo, is a consistent, relentless struggle to make us feel warm, to begin to trust, to feel that feeling of magic for even a small time. Strangely, in the desperate search for that great moment, Coke Studio has become a steady, trustworthy march of assurance.
Who am I to complain about that.
Vital Signs 1 released on March 1, 1989.
I remember going back to Islamabad, the day it was released. We went to Jinnah Market and we heard Gori playing in three four cars… and we couldn't believe it!
Junaid, Shehzad and Rohail wanted to be a real rock band. They had grown up as musicians playing Rush, A-ha and Pink Floyd. Later Fleetwood Mac and Duran Duran would become influences. They played music because they liked to, no one really thought anything would come of it.
But here, in 1989, under the mentorship of a certain Shoaib Mansoor, and under the shadow of their greatest hit Dil Dil Pakistan, the Vital Signs put out an eponymous debut album that to this day frames the image of Pakistani popular music. The focal point of that image, is Gori playing on the streets of Pakistani cities.
Suzy Menkes talks to Jony Ive and Mark Newson about the Apple Watch.
Around the 7:00 minute mark Newson begins to talk about a stream of what brings him and Ive together: what they didn't like. In a sense that the two are intellectual partners not by virtue of what interests them, but almost by virtue of what they are dissatisfied by. Ive turns this into a characteristic exploration of why things are produced.
Ive's identification of carelessness apparent in modern production is now familiar to those that follow his ideas.1 It's been hard for me to pinpoint exactly what this 'carelessness' implies. What actual facets of a finished product imply carelessness?2 Ive's description here is more lucid than any I have come across before I think.
He describes that much of what we see around us is produced to hit a price point or a schedule, and what differentiates Apple's work, and what gives it the care it deserves, is that it is produced to represent the values of the people that produce it. Of course all of these things – price, schedule, values – are factors in many good production processes, but I think the difference lies in what one considers non-negotiable.
For most companies today business metrics seem to be the primary non-negotiable. This is becoming harder with increasing data-fetishization.3 Few businesses now have the courage and self-awareness to stand up for values, and I wish more did.
Values can be moral and ethical in nature, but they have power even when they take a more fickle form. What you produce for can just be what you like, in fact that is the form that a lot of art takes. That many employees of modern businesses don't care about what they do is a great sign of our extraordinary ability as humans to get together and feel nothing.
Raahi is a new Karachi rock-band that deserves attention just on the merits of its personnel. It comprises Louis John Pinto aka Gumby (associated with Coke Studio, Ali Azmat, Uth Records, Noori, Vital Signs, Junoon), Omran Shafique (Coke Studio, Mauj, Kostal, Co-ven), Sameer Ahmed Bakhtiari (Karavan, Azal). Also joining the old timers is Ahsan Bari, a NAPA graduate that has caught some eyes with work on Sounds of Kolachi1 and Cornetto Music Icons.
The band has two songs out at the moment, Dil Ka Raahi (which hit Vimeo a couple of months ago), and Aasman Ki Oor (which released just last week). An album is apparently on the way in a couple of months. The music is definitely interesting, as is how the band presents itself. Given the nature of collaboration, the band's PR is noticeably understated,2 and this suits the music rather well.
Once you get past that hurdle however the music is unique still. Gumby's playing is unsurprisingly intricate and subtle, Sameer plays a gentle rock-bass, Omran softens his Mauj style and Ahsan's vocals round off the sound with a defining eastern swirl.
Dil Ka Raahi has a charming coffee-house aesthetic. It is mellow, but not sad – slow but with an obvious movement. Gumby's percussions are minimalist, limited to the edge of a snare drum and a hand drum. Sameer plays acoustic bass, while Omran plays acoustic and then accents it with a glass slide. Ahsan's vocals are intricate, but not in your face. The singing is more Amanat Ali than Junaid Jamshed, in that it is technically excellent but its primary quality is not the sheer power and recognizability of the voice. Most of Pakistani pop's renowned vocalists have fallen into the latter bucket: Junaid, Ali Azmat, Atif Aslam, Ali Noor. The comparison here is similar to the difference between Nusrat Fateh Ali Khan and Hussain Buksh Gullu – one a vocal powerhouse, the other a quiet maestro. The vocal style is fundamentally different to warrant a different assessment. Ahsan's vocal quality makes complete sense in this band's accompaniment.
The lyrics are ambiguous – I read them as oscillating between finding love and self-discovery. Perhaps that is intentional to point to the related nature of the two. But the lyrics neither seem to attempt to say something a pop song hasn't said before, neither leave you with the impression that they have. But they are pleasing still, and decidedly do not fall into the trap of being comically simplistic as they attempt to say too much (ala Noori). Like the band itself, they are understated and not the worse for it.
Aasman Ki Oor takes the tempo and the distortion up a notch. Gumby moves to a full drum kit, Sameer picks up an electric bass guitar and Omran plays with a characteristically pop-rock electric guitar sound. Ahsan's vocals keep up with the energy in the sound and in the lyrics (the words here are about energy, needing to get up and move, as far as I can tell). And in this song more than the first, the vocals clearly paint Ahsan as an eastern-trained vocalist fronting a western-style rock band. This aesthetic is also not new, but is presented in a manner more refined. You can't credit Raahi with inventing a style here, but they've picked up one that we know and practiced it tastefully.
Junoon's legacy has given the eastern vocal a great prominence in the east-meets-west Pakistani rock style. The recent trend to make the eastern influence a little more subtle is definitely refreshing. And it is what makes this music decidedly Pakistani in its lineage and aesthetic. A plain-old pop vocal would have made this just urdu soft rock, but the eastern training of Ahsan's vocal (and presumably the eastern influences that have affected Gumby and Omran's work in Coke Studio) make the whole aesthetic original.
It is good that an album is in the works, because this isn't really a collection of singles. It is more the kind of music you leave on in the background as it quietly makes the day a bit more pleasant. But it is not the sort of music you find yourself obsessed with and playing on repeat. At least I don't.
In some sense the band's position is analogized by their lyrics. Sufficiently obscure to be saying a lot, or nothing much at all; familiar enough to a pop sensibility; but pretty nonetheless.
Wajid Ali Syed reports for the Friday Times, on Pakistan's decision to halt contributions of police personnel to the UN peacekeepers.
Reasons for this move aren't particularly clear. There is some talk of the need to keep police officers at home given the domestic security situation, but the numbers don't fit this theory. Claims of a rift between the District Management Group and the Police department seem more likely, and also more tragic.
The troubling thing for me however, is the resultant glorification of the sort of patriotism that looks down on interacting with the rest of the world. There are few areas in the world where Pakistan's contribution adds to a global well-being. Any effort from any state that contributes to a global well-being, and is not only motivated by self-sustaining principles, must be praised. But the victimization of the Pakistani state and people by the world, as prominently discussed in our political narrative, makes it difficult to create any space to praise positive global interaction.
From 1992 to 2013, Pakistani police deployment increased from 35 to 766 annually. The UN peacekeepers returning to Pakistan were replicating the best practices of peacekeeping at home. They continue to identify themselves as UN peacekeepers while serving in the police by displaying their UN police medals and insignia on their uniforms. During their time as peacekeepers, the blue helmets operate within a system in which respect for human rights is seen as the cornerstone of police work, the report says, and they undergo human rights training for their missions. On returning home, local communities tend to respect former peacekeepers for their perceived integrity in an environment where human rights violations in regular police work are commonplace. Former peacekeepers perceive themselves as politically neutral and as agents of the rule of law.
From the information available I think there is a strong argument to be made that contributing to the UN peacekeepers makes Pakistan more secure. And I can speak from personal experience that there is little that teaches a person more than to be in an alien environment.
I hope this becomes a more important issue of discussion.
Some analysts say the migrants are being used as scapegoats to distract attention from the authorities' failure to end violence.
I don't see any evidence to believe the analysts are wrong.
Shahkirullah Sabawoon, an Afghan clothes merchant in Peshawar, is one of the people preparing to leave.
"Pakistan is our second home and we have invested billions of rupees in different businesses but police are asking us to shut our businesses and leave the country," he said.
Shahkirullah said many in the community were too afraid to visit the market and check their shops for fear of being arrested.
The anger against Afghan refugees is knee-jerk, misled, and hurtful. It is against any idea of multiculturalism, of global solidarity, of a basic humanity to help who one can.
It's easy to scream at immigrants and say that undocumented immigrants may pose a threat. It's too easy. Many of them ran away from the sort of terror we face now, and we are breaking their lives again so we can pretend that we made some progress to eradicate terrorism.
Shahkirullah's life is worth more than anything we stand to gain. This is the wrong move.
There is good reason for hatred of Pakistan if you are Afghan. There is a list of grievances, this is just the latest.
Authorized police officers in Peshawar are now able to check details on vehicle registration on the fly by using a car's license plate number and a cellular connection, as the Express Tribune Reports.
This is an incredibly smart use of cell phones and government data. As the report notes, in only a few months the system has helped recover 6 stolen vehicles. And hopes further to help combat militant attacks.
PESHAWAR: As you zip through the crowded corridors of the provincial capital, bear in mind you are under constant surveillance of Peshawar Traffic police and they have plausibly everything they need to know about you.
Experts sitting at the traffic police headquarters are just a click away from reviewing the registration and specification data of any vehicle en route in any nook or corner of the province. The data has also been made available to officers on duty at pickets, checkpoints and check posts punctuating the roads of Khyber-Pakhtunkhwa.
I think the ISI snooping on phone calls and internet communications is an actual problem. This, is not.
Unfortunately, there are no real details on the actual technology. But I'm assuming registration data and criminal records for all vehicles available have been collected into a central database, that police officers can query by SMSing the license plate number to a special phone number. From here they likely get all the details they need in a predefined format via an SMS reply.
This is not a technologically ingenious system by today's standards. In the sense that there is no real innovative technology here. It's just a database query, connected to an SMS connection with hopefully some smart language processing.
But the real takeaway here is that software does not need to be ingenious to be useful. A huge number of problems can be solved by a centralized database and smart ways to access the data. Think of the tool in Pakistan that let's you check what SIM cards are associated with your NIC. Incredibly useful, really simple. Kenya's a great example of such systems being put to great use, and high literacy (when compared to Pakistan at least) greatly helps the use of SMS interfaces to get data.
Governments are sitting on massive amounts of data that is in unusable forms. Small projects like these can make that data available, actionable, and valuable.
Good ideas can do without the Express Tribune's melodrama.
An event like LMM could finally give a chance for the executives to be forced to confront the larger diversity of Pakistani music.
Naqvi asserts, correctly, the diversity of musical practice in Pakistan. Questioned also, again correctly, are the prospects of a sustainable infrastructural future of said practice.
What's really interesting to me is his use of the state of corporate marketing as a barometer for these circumstances. The corporate sector's music ventures have been dull recently, and we do need some way of having marketers find the more interesting stuff. I think that could be one of the LMM's real successes, putting the right people in touch. But it's not going to be an easy metric to be able to judge it against.
As technology gives us more powerful ways of measuring things, there is an increasing demand for empirical success metric – i.e. there is an increasing desire, and perhaps need to be able to measure success in numbers.
This is difficult for cultural initiatives, because there aren't many numbers too look at. Beyond perhaps the number of attendees at an event, or the amount of money made. And with initiatives that are neither completely populist nor very good at making money, it's very hard to measure worth.
The beauty of meets like the LMM is that it's not the crowd that makes the event, it's how you feel when you're there. Which is primarily driven by the music. We don't have a good way to measure that yet. The best we can do is to try and capture the feeling, which is why discourse around culture is so important. Because it is the only way for us to remember how we feel. Which is why the LMM exists in the first place.
It's totally possible that the LMM results in better music financing and sponsorship, and for it to receive no direct credit. It takes brave, committed, driven minds to be able to take this on.


text:
The American Declaration Presents
Dr. Jerome Huyler speaking on
The greatest gift we the people can give Pres. Trump is the majority he needs (in both the House and the Senate) to keep the worthy promises he made.
Our forgotten Americans hold the fate of the country in their hands. If they rouse themselves, raise their voices and cast their votes in November, then our Liberal professors, Progressive leaders, mainstream media, and all the misguided millennials put together will not succeed in stamping out our liberties for another doomed experiment in utopian socialism. What will it take?
This talk focuses on three down-to-earth appeals that will:
(1) tap into the fears and frustrations, as well as the deep-seated pride-in-country your friends, neighbors, relatives and co-workers already feel, and
(2) help them see why they should join the patriotic struggle to preserve the liberties we yet enjoy, restore the rest, and make America grreat and prosperous for good.
Liberty's Best Kept Secret Weapon:
The Forgotten Men and Women of the Country
The Three Appeals
1. The Appeal to Pocketbook
Tell your friends and neighbors: "If you're paying upwards of 50% in combined local/state/federal taxes, you're already half-slave/half-free. What's American about that?"
These days near every household has two breadwinners, That's because one member's salary must pay the taxes.
"A government that is big eough to give you ANYTHING YOU WANT is big enough to take EVERYTHING YOU HAVE"
(Pres. Gerald Ford, 1976)
2 The Appeal to Patronage
Nearly nothing draws louder cheers and ear-splitting chants from the stadium-sized rallies Pres. Trump continues to mount as his solemn pledge to clean up Washington politics and
"Drain the Swamp."
American politics is where donors lobbyists, counterfeit capitalists and special interests of every description go to get special benefits at their neighbors' expense.
And it's the forgotten men and women of the country who are paying for the detestable privilege.
a cess pool of cronyism & corruption
3. The Appeal to Pride (in flag and country)
Our forgotten men and women love their country and cherish the freedom & opportunities it offers. They've worked hard and are proud of what they've achieved.
Yes, in the hustle and bustle of daily life, they can take the blessings of liberty for granted. It's a common human affliction.
But when the country they cherish is threatened, they suddenly realize how much they have and hope to hold onto.
(1) They recoil at those who bash this country for its capitalist greed, its racism, sexism . homophobia, xenophobia, income inequality, white privilege, rape culture, toxic masculinity, rampant police brutality, and sundry other "micro-gressions" our fragile daffodils must "suffer."
That's just trash talking. Americans know that their countrymen, the freest and most prosperous, are the most just, generous, and caring people to ever people the planet.
(2) Our forgotten Americans turn their backs on the NFL players and teams that kneel for nothing before the flag, and the republic for which it stands.
(3) Think of the thousands of flags on display in the wake of 9/11. We learned then and there that if we don't feel SAFE, we can't feel FREE. It was our way of saying to the terrorists, oh no, not in my country you don't. Military recruitment soon soared.
That's Jerry Lewis whose annual Labor Day Telethon brought the world's most talented performers into our homes while raising over $2 billion for "Jerry's Kids" and the Muscular Dystrophy Foundation for over a half century.
You can tell your significant others how proud we can be of our country, and how vigilant we must now be, as well
Jerome Huyler is a former assistant professor (Seton Hall University). He holds a PhD. in political science and is the author of Locke in America: The Moral Philosophy of the Founding Era, Everything You Have: The Case Against Welfare, and "Only in America: The Goodness That Greatness Begot." Dr. Huyler speaks occasionally on historical, patriotic and current political issues.


text:
Juliet the Maniac
By Juliet Escoria
Category: Literary Fiction
About Juliet the Maniac
"Dazzling…"—The New York Times
Voted MOST ANTICIPATED NOVEL of 2019 by both Bustle and Nylon
This portrait of a young teenager's fight toward understanding and recovering from mental illness is shockingly honest, funny, and heartfelt.
A highly anticipated debut—from a writer hailed as "a combination of Denis Johnson and Joan Didion" (Dazed)—brilliantly captures the intimate triumph of a girl's struggle to become the woman s
Ambitious, talented fourteen-year-old honors student Juliet is poised for success at her Southern California high school. However, she soon finds herself on an increasingly frightening spiral of drug use, self-harm, and mental illness that lands her in a remote therapeutic boarding school, where she must ultimately find the inner strength to survive.
Published by Melville House
May 07, 2019 | 336 Pages | 5-1/2 x 8-1/4 | ISBN 9781612197593
May 07, 2019 | 336 Pages | ISBN 9781612197609
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"For fans of Ottessa Moshfegh, Juliet the Maniac is a worthy new entry in that pantheon of deconstruction… Dazzling."—NEW YORK TIMES BOOK REVIEW
"To read Juliet the Maniac is to confront our shared faith in the flawed logic of life's meaning, and by so doing, become worthier of our humanity… a gift to any reader who has ever lost control, sighted a horizon and began moving toward it."—THE WASHINGTON POST
"Juliet the Maniac is a wild ride of a book, and I was rooting for Juliet every page
along the way."—CHICAGO REVIEW OF BOOKS
"A force that shouldn't be ignored — an illuminating examination of youth and soul-crushing pressure."—BUZZFEED
"[With] heft and a sense of authenticity, Escoria earns the readers' trust early… Juliet The Maniac is a heartfelt, raw, powerfully told story about surviving mental illness and learning to cope with inner demons."—NPR.org
"Escoria's descriptions are moving… It's the electricity that pulsates from within the prose. [A] fire burning inside."—BOMB
"Juliet Escoria has created a propulsive, addictive story… told with a singular honesty; it can feel brutal—it burns—but it's also illuminating, and a necessary counterpoint to all those teenage stories that marginalize the girl we actually want to read about."—NYLON
"[An] exciting first novel… Juliet the Maniac is one of those coming-of-age stories that will feel so darn personal, you'll wonder if Escoria had a secret recording device in your own teenage heart."—
"An author to watch"—MICHAEL SCHAUB, LOS ANGELES TIMES
"Writing about emotional turmoil and addiction with a sharp, charged eloquence, Juliet Escoria… is an up-and-coming author."—THE A.V. CLUB
"Achingly accurate language, stripped down but beautiful, makes this story fresh and forthright."—LIBRARY JOURNAL
"Searing… reminiscent of Eve Babitz's work… Escoria's novel is a moving and intimate portrait of girlhood and mental illness."—PUBLISHERS WEEKLY
"Vivid, fantastic imaginings… of mental illness and disaffected youth."—KIRKUS REVIEW
"A startlingly honest tale of mental illness and addiction… Escoria cements her status as one of the most powerful voices in independent literature."—THE INDEPENDENT
"Escoria here delivers a coming-of-age novel about teenage life and mental illness that's also an explosive work of autofiction. With bold honesty, she tells an unforgettable story that's unhindered by romanticism in its unabashed portrayal of Juliet's darkest struggles."—BOOKLIST
"Escoria weaves a story that isn't just relatable to those with mental illness, but really illustrates what it's like for those readers who don't have it… Escoria's writing traces the scars in this book with a gentle fingertip, capturing the moments with a dream-like clarity, watching them unfold, knowing what the consequences will be."—ENTROPY
"Brims with dark humor and empathy"—POP SUGAR
"You don't want to miss Juliet the Maniac…It's a stunning portrayal of what it's like to struggle with bipolar disorder, self-harm, and suicidal thoughts as a teenager."—HELLO GIGGLES
"A searing, harrowing tale of addiction, the teenage years, and antisocial behavior, all told with Escoria's intense prose and a blend of tension and empathy."—VOL. 1 BROOKLYN
"Equal parts memoir and fiction, we're given a peek inside the mind of a bright and accomplished teen—despite her perceived odds. Pro Tip: Pick this one up when you're feeling lonely. (You're not, we'll figure it out.)"—HYPEBAE
"Juliet the Maniac is a dark, funny, and heartbreaking portrait of a young teenager's clash with mental illness and her battle toward understanding and recovery."—THE FANZINE
"A singularly beautiful piece of work–honest, unaffected, fascinating."—NICO WALKER, author of Cherry
"Not since Kathy Acker has a writer given us such an unapologetic and dazzling view from the inside-out of adolescence. A voice and style triumph. A brilliant cry against cultural girl inscriptions."—LIDIA YUKNAVITCH, author of The Book of Joan
"Juliet Escoria's voice is unmistakable: riveting, harrowing, and funny. In Juliet the Maniac, she tells a story about addiction and mental illness that subverts our expectations and reveals new truths about gender, power, and the unexpected ways we can both heal and be harmed."—EMILY GOULD, author of Friendship
"Juliet the Maniac is a late-nineties Bell Jar, a Girl, Interrupted in gloomy sunny Southern California, an autofiction from a former reform-school pirate princess. Teenage girls forever (and other people who exist, too): Read this book."—KATHERINE FAW, author of Ultraluminous


text:
Q: Resize to particular size while maintain aspect ratio in css I am loading a while bunch of photos onto my page and they are all different sizes. I need to bring them all down to the same size* (which is: x200px by y400px) _while maintaining aspect ratio.
How do I do this in pure CSS?

A: The following CSS class will restrict them to the sizes you specified. diffferent aspect ratios may have smaller height or width but the aspect ratio is maintained
.yourimage{

width:200px;
height:400px;
background-image: url("yourimage.png");
background-size: contain;
background-repeat:no-repeat;
background-position: center ;

}

here is a fiddle with example
http://jsfiddle.net/LgZtD/

A: CSS cannot change the sizes of your images, that's not what it is for. You will lose the aspect ratio if you insert the images into img tags with width:200px and height:40ppx.
What you can do though is use CSS to show a 200px x 400px element with the image as a background, and then use the background-size property to have the image cover the 200px x 400px space. CSS will find the most efficient way to cover that area without changing the size of the image
.image {
    width: 200px;
    height: 400px;
    background-image: url(/url/to/image);
    background-size: cover; //This will cover the area of the image
    background-position: center center; //Have the image centered
}

http://codepen.io/herihehe/full/aLwGt
This is a great example of what you want. Look at the difference between contain and cover. Contain shows the actual size of the image. Cover "covers" the area

A: I think this is what you are looking for:
img {
    height: auto;
    width: auto;
    max-height: 400px;
    max-width: 200px;
}

Fiddle example here


text:
Q: Win7 64bit cx_Oracle cx_Oracle.pyd not found I'm trying to connect to an Oracle DB 11.2g from Python 3.5.
I tried my luck with cx_Oracle. Other means are welcome if you have a better option. Here you can see that I have tried many routes to my cause.
I downloaded MS Windows installer 3.5 from
https://pypi.python.org/pypi/cx_Oracle/5.2.1
Read from a blogpost that after installation I should put cx_Oracle.pyd file to pythonpath. But I only found testing and sample files in its cx_Oracle-wininst.log file? Not even setup.py was found from which I could have tried to build it using cx_Oracle-doc\BUILD.txt that the installer left behind.
This was the best advice I was able to find:
http://prasoon11.blogspot.fi/
And before that I did try:
pip install cx_Oracle
failed with error code 1
building 'cx_Oracle' extension
error: Unable to find vcvarsall.bat
To work around that error I ended up here:
http://www.lfd.uci.edu/~gohlke/pythonlibs/
cx_Oracle-5.2.1+oci12c-cp35-none-win32.whl
How do I know which dll it is trying to use? It seems that it finds some dll (how do I find it?) but probably because the driver is oci12 but my instant client dll from Oracle is 11g. I think Oracle instant client 12c will work also with Oracle11g DB. How do I tell Python3 that is using this driver: cx_Oracle-5.2.1+oci12c-cp35-none-win32.whl to use the Oracle instantclient 12c that I downloaded?
Or alternatively can I get an oracle 11g cx_Oracle from somewhere?
In python3 code I tried this to make cx_oracle to find oci.dll:
import os
os.environ["ORACLE_HOME"] = "path to folder containing oci.dll"

import cx_Oracle
#dostuff

but I got this error:
ImportError: DLL load failed: given procedure not found.
Does cx_Oracle use registry to find oci.dll?

A: You can get 11g cx here: https://sourceforge.net/directory/os:windows/?q=cx_oracle-11g
At first glance it seems that you are telling your library to work from the document folder which means that you have to go into the odbc and tell it to use the directory where you have oracle installed and python to read as document store. Does look like a simple answer, but maybe you just missed something little like that. Also double check that your paths are in both your system variables and in your user account, are you logged in as admin? I'll look around some more. but that is at least a start with the download from sourceforge.


50 States Staffing has an opening for a traveling L&D RN in Georgia. This assignment puts you in the Cornelia, GA area. Labor and Delivery travel nurses are a in high demand for their critical skills in hospital delivery rooms. Enjoy the increased pay and new experiences that come with traveling to locations like Demorest, along with a full benefits package and top-rated customer service.
This Labor & Delivery position in Demorest includes a full benefits package.
This not-for-profit, 53-bed facility is located two hours northeast of Atlanta, just on the edge of the beautiful Chattahoochee National Forest. Its inpatient specialties include cardiology, diagnostics, emergency services, orthopedics, and surgical services, among others. This hospital also offers outpatient diagnostics, home health, lab services, long-term care, occupational health, primary care, and rehabilitation. It is a Certified Stroke Center that was a recipient of the Circle of Excellence for Patient Quality and Safety Award from the Georgia Hospital Association in 2016.


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text:
#include "config.h"

#include "wtf/Vector.h"
#include <gtest/gtest.h>

namespace {

TEST(WTF, VectorBasic)
{
    Vector<int> intVector;
    EXPECT_TRUE(intVector.isEmpty());
    EXPECT_EQ(0ul, intVector.size());
    EXPECT_EQ(0ul, intVector.capacity());
}

} // namespace


Welcome to the Jeep Patriot review page.
As you can see, this page provides you with all our user generated reviews of Jeep Patriot cars. AA Cars provide our users with the best feedback on all car makes and models all across the uk to give you the best possible information, to help you make your decision when buying a new used car. We break each vehicle review down into five categories (preformance, running cost, comfort, reliability and space practicality) making it very easy to understand, giving you feedback directly form the vehicle owner. This provides you with all the information you need to make the decision of which car is perfect for you.
The car has been a tough workhorse. It not luxurious but is comfortable and has all of the basics. I am pleased with the build quality. It has been reasonably reliable having only let us down the once with a faulty water pump. This was replaced under warranty. It drives well and has a surprisingly good acceleration from about 20mph, good enough to provide confidence when overtaking. Ii is a heavy car but this has contributed to a strong feeling of security and safety. It does however also contribute to it not being the most frugal of cars. That said, it is possible to achieve 43+ mpg with a judicious right foot. It has coped well with adverse weather conditions especially in snow ( we bought it as we live in a remote area on the top of a hill ) I have not felt the need for winter tyres. On the subject if tyres, it is still on it's originals with at least another 4k left in them, pretty good for a 4x4. Likes- strength, ruggedness, reliability, practicality and safety Dislikes - not the prettiest of cars, can be noisy on start up, poor residual value I would definitely buy another, sadly it is no longer made! although the new Compass comes close. Franchise garage / dealer ( Meridian Bournemouth ) has been faultless, excellent service.
Very disappointing. Certainly fails to live up to JEEP's illusion for toughness. Bumps and rattles from day one. Lots of suspension and steering problems, although never used off road (we also own Land-Rovers). Just had to replace both front springs at 45,000 careful miles. One went through a front tyre, fortunately at low speed. Both front wishbones were replaced earlier. The build quality is a disgrace. The VW engine and gearbox have been OK, apart from a new throttle barrel). It is fast, nice to drive (when in one piece) and good on fuel. But the local dealership is very poor. They couldn't care less. JEEP too couldn't care less about problems with both the dealership or the vehicle. Initially I was going to buy a second one for my wife and possibly a third for my daughter; but swiftly went off that idea. That's their stupid loss as we run five cars! Kind of landed with it as I don't expect the resale value to be up to much, so will probably keep it as a run-about and a reminder to avoid both the dealer and JEEP in future. It's cheap to buy; but, as I have discovered, it's cheap for a reason. There are much better propositions. Avoid.
Bought from a dealer in 2014 - initially it was an absolute disaster - needed a new flywheel (worn starter ring), battery (wrong size fitted so not secured properly), re-conditioned turbo, driver's door lock (common fault caused by damp), tyres -(supplying dealer renewed some rear suspension links for MOT but didn't know that tracking was supposed to be checked after this work so rear tyres were wrecked in 500 miles, since then I have had nearly 20,000 trouble free miles. Engine is a VW diesel (but doesn't seem to be affected by the emissions scandal) and 40mpg is easy to achieve. 6 speed box gives leisurely at 70mph and performance is more than adequate for the type of vehicle. 4WD is automatic but can be locked and is useful on slippy ground but it is not really an "off-roader". Not actually as big as it looks - boot floor is high as there is a full size spare underneath and rear seats don't fold flat.
Bought it at one year old with 3000 miles on the clock and eight years later with only 33000 miles nothing has ever gone wrong with it. I always enjoy driving it and it goes pretty well and is very good on the motorway. To me they are the last truly good looking 4X4s as they are all pretty much the same nowadays and too slopey at the front. Great in the snow but the only thing I can find dodgy is that it's too easy to put into 4WD and can be done by mistake which can be bad cause you are meant to be stationary to do that. Would definitely buy a one or two year old one if they were still being made. They have tried with the Renegade but it's just not the same.
I have had four by fours for a decade but my patriot is by far the fastest and most fun to drive. The interior is practical whilst still being comfortable. My only gripe is the suspension has gone twice and is pricey to repair. This is especially galling as it has never been off-road.
A very solid and reliable car. Excellent road holding and gives confidence in difficult conditions. Surprising good performance for such a heavy car.


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text:
class basepriorityqueue:
    """
    Priority-Queue interface.

    is_empty()
    find_min()
    insert(element, key)
    delete_min()
    decrease_key(element, new_key)
    increase_key(element, new_key)
    """

    def is_empty(self):
        """
        Returns True if the Priority-Queue is empty, otherwise False.

        is_empty() -> True/False

        @rtype: boolean
        @return: True if the Priority-Queue is empty, otherwise False.
        """
        raise NotImplementedError("is_empty: You should have implemented this method!")

    def insert(self, element, key):
        """
        Inserts into the Priority-Queue a new node with the specified element and priority-key.

        insert(element, key) -> None

        @type element: object
        @param element: element to be added into the Priority-Queue.
        @type key: float
        @param key: priority-key of the new element.
        """
        raise NotImplementedError("insert: You should have implemented this method!")

    def find_min(self):
        """
        Returns the node with the minimum priority.

        find_min() -> min_node

        @rtype: priority queue node
        @return: minimum priority node.
        """
        raise NotImplementedError("find_min: You should have implemented this method!")

    def delete_min(self):
        """
        Deletes and returns the node with the minimum priority-key in the Priority-Queue.

        delete_min() -> min_node

        @rtype: priority queue node
        @return: node with the minimum priority-key
        """
        raise NotImplementedError("delete_min: You should have implemented this method!")

    def decrease_key(self, element, new_key):
        """
        Decreases the priority-key of the specified element to the specified new key.

        decrease_key(element, new_key) -> None

        @type element: object
        @param element: element whose priority-key is going to be decreased.
        @type new_key: float
        @param new_key: new smaller priority-key.
        """
        raise NotImplementedError("decrease_key: You should have implemented this method!")

    def increase_key(self, element, new_key):
        """
        Increases the priority-key of the specified element to the specified new key.

        increase_key(element, new_key) -> None

        @type element: object
        @param element: element whose priority-key is going to be increased.
        @type new_key: float
        @param new_key: new bigger priority-key.
        """
        raise NotImplementedError("increase_key: You should have implemented this method!")


A third season of Natsume Yuujinchou has also been announced. Which makes it Brains Base's longest running franchise.
I liked the first two seasons. A bit like the bridge between Mushishi and Mokke without making the "mistakes" those two series made.


text:
Volume 8, Issue 2, April 2020
Acceptance of GST- A Stride for Profitable Fusion of India
Malkeet Singh* (Assistant Professor, Department of Business Management, Innocent Hearts Group of Institutions, Jalandhar, India) and Minal Verma (Assistant Professor, Department of Business Management, Innocent Hearts Group of Institutions, Jalandhar, India) *Corresponding author's Email
Singh, Malkeet and Verma, Minal (2020), "Acceptance of GST- A Stride for Profitable Fusion of India", MERC Global's International Journal of Management, Vol. 8, Issue 2, pp. 60-63.
Review paper
The Goods and Service Tax (GST) is the single VAT (Value added tax) which openly affects all goods and services of India. The concept of the GST was introduced on 1st July 2017 with a twin structure which means it will have two components- the Central GST and the State GST. It is designed to create a sole, united bazaar and that will yield corporate profit and the economic unification. GST is expected to simplify tax administration, ensure 'Ease of Doing Business' and support 'Make in India.' It will influence the government's financial health as the tax gathering structure would become clearer, making tax fudging complex. An effort is made in this paper to learn the idea of GST and its blow to the Indian economy. The study also aims at how the unified integrated tax system will bring profitable fusion in India.
GST, Indirect tax, Profitable fusion, Make in India.
Ahamad, Ehtisham and Poddar, Satya (2009). "Goods and Service Tax Reforms and Intergovernmental Consideration in India", Asia Research Center, LSE.
Gupta, Nishita (2014), "Goods and Services Tax: Its implementation on Indian economy", International Research Journal of Commerce, Arts and Science, Vol. 5, Issue 3, pp. 126-133
John, P. V. (2010), Reforms in Sales Tax Structure: A Study with Special Reference to VAT in Kerala, Unpublished PhD Thesis, Mahatma Gandhi University, Kottayam.
Kamna, Pinki Supriya and Verma, Richa (2014), "Good and Service Tax – Panacea For Indirect Tax System In India", Tactful Management Research Journal, Vol. 2, Issue 10, July.
Kelkar, Vijay (2009), GST Reduces Manufacturing Cost and Increases Employment, Times of India, October 13.
Poddar, Satya and Bagchi, Amaresh (2007), Revenue-neutral rate for GST, The Economic Times, November 15.
Rao, Govinda (2014), "Goods and Services Tax in India: Challenges and prospects", Macroeconomic Policy, August 14.
Taqvi, Syed Mohd Ali (2013), "Challenges and Opportunities of Goods and Service Tax in India", Indian Journal of Applied Research, Vol. III, Issue V, May.
Vasanthagopal, R. (2011), "GST in India: A Big Leap in the Indirect Taxation System", International Journal of Trade, Economics and Finance, Vol. 2, No. 2, pp. 114-146.


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