2017 Hyundai Sonata Owners Manual – The 2017 Hyundai Sonata rearranges some standard and optionally available functions, but or else holds more than unaffected.
We may be residing in a period in which crossover Sports Utility vehicles have grown to be the new family members vehicle of the option, but that doesn't imply you ought to neglect outstanding midsize sedans like the 2017 Hyundai Sonata. The Sonata gained our "A" ranking a couple of years back on its redesign plus it nevertheless keeps up nowadays.
For 2017, the Sonata continues to be unaffected, conserve for a minor reshuffle of some regular and optionally available functions. And it's great that Hyundai has to remain the Sonata good enough on your own. The cabin is nevertheless cavernous and comfy, with lots of space in the backseat when you have to ferry the children, their buddies or grown up friends. The Sonata also pushes with confidence, with a smooth journey high quality and exact manage that prevents that floaty large-sedan feel on the freeway.
You will also get lots of functions for the money. Even when you choose the base model, you're not likely to feel as if you're obtaining the short finish of the adhere, while the best-of-the-collection Limited 2.0T has luxurious-car amounts of gear.
The Sonata's technologies functions are remarkable, from readily available motorist safety helps like blind-spot checking and automatic emergency braking to big, sharp touchscreen shows for menu and enjoyment features.
Keep in mind, nevertheless, that the midsize sedan section is complete of powerful rivals. The Honda Accord and Toyota Camry are the lengthy-operating regular-bearers within this course for close to perfect worth and performance. But there are other outstanding options as properly, such as the attractive and properly-curved Ford Fusion, the current Mazda 6, the sporty Nissan Altima and the Chevy Malibu. Regardless of this terrible company, the Sonata provides lots of conveniences, performance, and worth to make it a standout.
The 2.0T models include a turbocharged 2.0-liter 4-tube engine, making 245 hp and 260 lb-feet of torque. We documented no-to-60-miles per hour velocity in 8.3 secs, an adverse outcome thinking about its energy edge over the conventional engine.
On the contrary, the 2.0T models come back and EPA-approximated 26 miles per gallon mixed (22 town/31 freeway), so we were able to make a remarkable 28 miles per gallon on our different 120-distance assessment path.
The 7-in regular touchscreen is big enough to create choosing features simple and relatively totally free of diversion while in movement, while the appealing 8-in display screen used with the menu program functions uncluttered, apparently marked charts with effortlessly readily explicit textual content and sharp images.
The Sonata has more than adequate traveler space for four grown ups. The front side seats are adequately cushioned, encouraging, and excellent for very long-range traveling. There's somewhat much less rear traveler space than some rivals, only bigger than normal grown-ups will observe.
At 16.3 cubic ft, the trunk area is a bit more beautiful than typical with this section, and the regular 60/40 divided-foldable rear seat is at the prepared to increase the freight capability ought to the require occur. Models built with the fingers-totally free "wise" trunk area opener instantly put the chest area if the individual with the important fob holds right behind the car for more than three secs. For more detail and review 2017 Hyundai Sonata, you can read 2017 Hyundai Sonata Price and Reviews.


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Q: Play framework - Using anorm with Option[LocalDate] \ Option[LocalDateTime] I am trying to define a nullable date field in postgres, while using anorm as connection to the database.
I am trying to update an entry:
def update(id: Long, startTime: Option[LocalDate]){
   SQL("""UPDATE my_table
        |SET start_date = {start_date}
        |WHERE id = {id}
      """.stripMargin)
      .on(
        'id ->id,
        'start_date -> startDate,
      ).executeUpdate()
 }

But I get a compilation error, looks like anorm can't handle Option[DateTime], although when I configured a parser it works form me:
val parser: RowParser[Info] = {
  get[Long]("id") ~
  get[Option[DateTime]]("start_date") map {
  case id ~ startTime => Info(id, startDate)
}

}
What am I missing here?
Thanks!

A: I added my own implicit definitions:
implicit def rowToLocalDate: Column[LocalDate] = Column.nonNull {(value, meta) =>
   val MetaDataItem(qualified, nullable, clazz) = meta
   value match {
      case ts: java.sql.Timestamp => Right(new LocalDate(ts.getTime))
      case d: java.sql.Date => Right(new LocalDate(d.getTime))
      case str: java.lang.String => Right(fmt.parseLocalDate(str))
      case _ => Left(TypeDoesNotMatch("Cannot convert " + value + ":" + value.asInstanceOf[AnyRef].getClass) )
}

}
implicit val localDateToStatement = new ToStatement[LocalDate] {
    def set(s: java.sql.PreparedStatement, index: Int, aValue: LocalDate): Unit = {
       s.setTimestamp(index, new java.sql.Timestamp(aValue.toDateTimeAtStartOfDay().getMillis()))
}

}
And the relevant ParameterMetaData
implicit object LocalDateClassMetaData extends  ParameterMetaData[LocalDate] {
   val sqlType = ParameterMetaData.DateParameterMetaData.sqlType
   val jdbcType = ParameterMetaData.DateParameterMetaData.jdbcType
}

That made the trick

A: Related question, Anorm compare/search by java.time LocalDateTime what it worked for me is just update to new version (not-yet-release-one)

redpajama_set_name: RedPajamaStackExchange


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To take care of the conquered lands Muhmmad Ghori left behind...
Home / History / Gulam Dynasty / Question
To take care of the conquered lands, Muhmmad Ghori left behind his trusted General
A. Nasiruddin
B. Iltutmish
C. Qutub-din-Aibak
D. Malik Kafur
Solution(By Examveda Team)
Ghori treated his slaves very nicely and sometimes with as much affection as a father would have for his son. One of his slaves was Qutb-ud-din Aibak. With the time, he rose through the ranks to become the most trusted general of Ghori. His greatest military successes occurred while working directly under Ghori's leadership. He was left with independent charge of Indian campaigns and thus became the first Muslim emperor of Northern India. He also established Turkish rule in India and made Delhi and Lahore his capital cities.
Related Questions on Gulam Dynasty
The first muslim woman who ruled Northern India was
A. Razia Sultana
B. Nurjahan
C. Mumtaz
The silver coin 'tanka' was introduced by
A. Qutub-ud-din Aibak
C. Balban
D. Bairam Khan
Which battle did open the Delhi area to Muhammad Ghori?
A. First Battle of Tarain
B. Second Battle of Tarain
C. Battle of Khanwa
More Related Questions on Gulam Dynasty

redpajama_set_name: RedPajamaCommonCrawl


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Coast Miwok Tribe stands by ancestry of chairman
Members of the Federated Indians of Graton Rancheria, also known as the Coast Miwok Tribe, say their leader's ancestry is legitimate.
Chairman Greg Sarris has led the tribe since it was restored to federal recognition in 2000. Tribal members say they have no doubt he has Miwok ancestry.
But Marilee Montgomery of a group called Stop the Casino 101 Coalition says Sarris doesn't have any Indian ancestors. She wants the Bureau of Indian Affairs to take him off the tribe's rolls.
Sarris, who didn't find out he was Indian until his early 30s, has offered to give a blood test to prove he is related to other tribal members. He told The Santa Rosa Press-Democrat that Montgomery's request was "horrendously offensive to me and my family."
Casino critic challenges tribal leader's Indian heritage (The Santa Rosa Press-Democrat 2/18)
Anti-casino group challenges tribal chair's ancestry (2/11)
greg sarris
Delvin Cree: Tribes endorsed candidate too quickly
Navajo president vetoes changes to traditional law


text:
Home Kate Middleton, Catherine Duchess of Cambridge What makes one of TV's biggest stars sweat? A meet-and-greet with the...
Kate Middleton, Catherine Duchess of Cambridge
What makes one of TV's biggest stars sweat? A meet-and-greet with the Queen
The Big Bang Theory's Kunal Nayyar Spills Buckingham Palace Secrets — and the Compliment Princess Kate Gave His Wife!
What makes one of TV's biggest stars sweat? A meet-and-greet with the Queen.
Big Bang Theory star Kunal Nayyar visited Buckingham Palace in February for a reception to celebrate the start of 2017's UK-India Year of Culture, where he hobnobbed with event hosts Catherine Duchess of Cambridge, Prince William and Queen Elizabeth herself.
And even though he's been starring on the biggest hit in comedic television for 10 years, a meeting with the British monarch made Nayyar nervous. He recounted the experience to Ellen DeGeneres on a visit to her show, telling the host that he was a nervous wreck the entire time.
"We went to London to meet the Queen, and I was playing it off as 'whatever,' but I was actually very nervous inside," Nayyar admitted. "As soon as she enters, I begin to have the worst panic attack of my life. I start thinking, 'Oh, there's the Queen. I'm going to faint. Why am I going to faint? I've never fainted in my life.'"
The Big Bang Theory star Kunal Nayyar attends the reception with his wife, model Neha Kapur.
He also gave some serious Buckingham Palace scoop: That famous front, the one in every photograph of the palace, is actually just a facade.
"The front of the palace — I don't know if I'm allowed to say it — is actually a facade, because you drive through that facade and then there's another courtyard and then the actual entrance."
He then said that his interaction with the Queen was about "six seconds" long. She told him that it was "nice to see you again," leading Nayyar to believe that the 91-year-old monarch had confused him for someone else, as they'd never met before.
"I was like, 'Okay, but I'm not Dev Patel,'" he joked.
The Queen wasn't the only royal that Nayyar met at the event — he also had the chance to chat with Prince William and Princess Kate, who gave his wife, Neha Kapur, a sweet compliment.
"Princess Kate told my wife that she's beautiful," he said. "But she didn't say anything to me."
Kate was greeted by National Portrait Gallery Director Nicholas Cullinan and warmly welcomed to the musem.
Photo: © Getty Images
Kate, who studied history of art at university, viewed two exhibitions: Howard Hodgkin: Absent Friends and Gillian Wearing and Claude Cahun: Behind the mask, another mask.
The mum-of-two took a closer look at some of the ten masks that were created especially for the evening by the likes of Dame Vivienne Westwood and Philip Treacy, to help raise funds for the museum.
Kate has visited the museum various times before. This was the second gala she has attended.
As in previous years, the funds raised directly supported the National Portrait Gallery's work in delivering inspirational exhibitions and displays, offering unique learning opportunities and undertaking world class research.
The Duchess of Cambridge stepped out for a solo engagement on Tuesday night – attending the National Portrait Gallery's 2017 Portrait Gala. Kate, who was attending in her role as patron of the iconic London museum, looked stunning on her official night out.
She kicked off the event with a reception, where she viewed the newest exhibitions, followed by the gala dinner. Kate, 35, had the chance to mingle with a selection of guests, many of whom will have contributed to this important event. She was also introduced to Richard Found and Jane Suitor, fellow parents from Thomas's school in Battersea, where Prince George is due to start in September.
"We were chatting about Thomas's, the school George will be going to," said Mr Found afterwards, adding: "We're parents there as well. She just said 'I may see you at the school gates.'"
Photo: © Twitter
Nayyar said he was so nervous, that afterwards, he went home, took off all his clothes and ate Indian food.
An appropriate response to a night spent with the royal family.
Source: People Com
Tags: Princess, Kate, Kate Middleton, Catherine Duchess of Cambridge, Duchess of Cambridge, Nayyar
Catherine Duchess of Cambridge
Nayyar
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Mary Ellen Bardsley & Tracy Galuski
Mary Lynn Hafner
Fiona Stewart
Christine A. Schmidt
Derry Koralek and Laura J. Colker
Tamar Jacobson-Everyone Needs Attention
Lisa Daly and Miriam Beloglovsky
Steffen Saifer
Emily Plank
Rosanne Regan Hansel
Deya Brashears Hill
Lisa Murphy
Martha Herndon and Cathy Waggoner
Sara Langworthy
Rachel Robertson
Ann Gadzikowski
Amber Harris
Priscilla Prentice
Angèle Sancho Passe
Linda Zane
Miriam Beloglovsky and Lisa Daly
Maurice Sykes
Julianne Wurm
Sara Starbuck, Marla Olthof and Karen Midden
Tamar Jacobson
Joseph Cowman
Mike Huber
Gaye Gronlund
Deborah Falasco
Donna Hurley and Sharon Woodward
Marianne Dambra
Judith Anne Rice
Jean Barbre
Todd Wanerman
Deb Curtis and Margie Carter
Gigi Schweikert
Rachel Robertson and Sharon Bergen
Julienne Olson
Jeff A Johnson and Denita Dinger
Patty Born Selly
Brian Puerling
Tom Copeland
Sally Moomaw
PUBLISHED: Monday, April 09, 2018
Redleaf Press is excited to offer a chance to win a full set of the Loose Parts series (includes Loose Parts: Inspiring Play in Young Children, Loose Parts 2: Inspiring Play in Infants & Toddlers, and Loose Parts 3: Inspiring Culturally Sustainable Environments).Click HERE to enter.
For more than 30 years, Miriam Beloglovsky and Lisa Daly have been teachers of and advocates for early childhood education. They are the bestselling authors behind the Loose Parts series and Early Learning Standards Made Visible.
With the release of Loose Parts 3: Inspiring Culturally Sustainable Environments, the newest installment of the award-winning series, Lisa and Miriam guide readers to use their environment to promote a sense of joy and allow children to explore their identity. With loose parts the possibilities are endless.
Read on to learn how the Loose Parts series has grown and what's next.
What is your favorite benefit of Loose Parts play?
Our favorite benefit would be how loose parts engage children's sense of wonder. We love seeing how play with loose parts promotes children's creativity and innovation. Seeing children's faces as they concentrate on building a structure using a variety of loose parts or watching a big smile that comes when a child achieves her goal is priceless. More than anything, we delight in listening to children's conversations and how they represent their thinking in powerful ways. When children play with loose parts, possibilities are unlimited. Playing with loose parts promotes the intellectual knowledge children need to be successful in the future. They are learning as they play, test their ideas, and develop hypotheses. Play with open ended materials is significant and deeper than academic learning, where children only memorize and repeat information that they will probably forget. In loose parts play, children can be joyful, that is one of the best gifts we can give them.
Are you surprised at the success of the Loose Parts series?
Yes, we never imagined that the books would be received with such enthusiasm. We had the passion and a vision about the importance of loose parts as a vehicle to promote play and learning, and we wanted to share it with others. The books evolved and morphed as we explored new materials and provocations. We have learned a lot in this journey and loose parts have transformed our thinking about play and children's incredible capacities for creativity, innovation, and deep thinking.
What inspired the subject focus of Loose Parts 3: Creating Culturally Sustainable Environments?
We aspire to create spaces that support children's identity, history, language, traditions and values. We have a deep belief that every child has the right to play, and the right to belong and be valued. This is especially true today, when children need to be prepared to function in a not-yet-created world of the future, where they will have to successfully maneuver multiple global perspectives. We want children to be able to have the confidence and abilities to navigate multiple messages that either support or criticize their identities. Children's success can depend on how they use critical thinking to define their identities and define others around them. We wanted to write a book that offers an educational philosophy that creates a sense of belonging, supports children's identities, brings joy and a sense of wonder, and is culturally responsive and sustainable.
"We want children to be able to have the confidence and abilities to navigate multiple messages that either support or criticize their identities."
In our journey as educators, we have learned that the multiuse and open-ended power of loose parts can promote cultural sustainability by embracing important cultural values, such as respect, integrity and the core beliefs of every culture. We have made a conscientious commitment to use loose parts educational philosophy as the lens to write Loose Parts 3: Inspiring Culturally Sustainable Environments. This book expresses our understanding of diversity, culture and anti-bias education and how integrating a loose parts philosophy can support children's identities. We also recognize that we do not have all the answers and that instead we embrace the disequilibrium brought by ongoing discourse. We are constantly seeking new perspectives and are open to learning from our mentors, colleagues, and friends. We are willing to be vulnerable as we embrace diversity and recognize the challenges it brings.
We wanted to write a book that would engage educators in asking questions. Our desire is for educators to join us in a quest for knowledge by continually seeking new perspectives that will enhance our collective work with young children and families. We hope that early childhood educators and families can work together to ensure that every child has a sense of belonging and opportunities to be who they are. We envision a future in which early childhood environments are designed to create hopeful futures for children, families, and educators.
Why is it important for an early childhood classroom to be culturally sustainable?
When environments are culturally responsive, and infused with materials that are authentic to children's cultural values, there is a sense of belonging. Environments that embrace the cultural values of the children and families demonstrate respect for the rights of all children to thrive, grow, and develop. When children attend programs that embrace the deep cultural values represented through; language, artifacts, music, daily rituals, traditions and the arts, they can fully participate as valued members of the community.
For children to gain a strong understanding of both self and group identity, educators have to establish a democratic classroom. In a democratic classroom, children learn to be aware of other people's points of view, balance their own needs with those of other members of the group, and negotiate and cooperate with a diverse group of people. A culturally sustainable environment helps create inclusion, self-identity, and activism against injustice.
"A culturally sustainable environment expands children's knowledge about languages, cultures, communities, and issues of social justice"
As early childhood educators, we have the responsibility to create spaces that honor children and that recognize children's strengths as creative, curious, capable, caring, and competent human beings. We believe that a culturally sustainable environment encourages play and promotes a sense of wonder, while inviting children to question and critically think about who they are in relationship to others. A culturally sustainable environment expands children's knowledge about languages, cultures, communities, and issues of social justice. As children participate in the classroom community, they develop their humanity. More than ever, we need spaces for children where they can be hopeful; places where they can see themselves as active participants in the creation of a future that embraces common goals of respect and caring for each other.
What did you learn during the writing process of Loose Parts 3? Did anything surprise you?
As in all work that involves a deep study of diversity, as we wrote we confronted our own privilege and advantages in what seems to be an inequitable society. We considered the difference between equality (treating everyone the same), and equity, which takes acknowledges issue of power, privilege and oppression.
"We evaluated our past, upbringing, and biases and analyzed our role as allies and advocates for young children's rights to grow in a healthy, hopeful, and safe world"
At one point during these ongoing reflections, we were challenged by our friend Michelle Grant-Groves with a powerful question: "How will you justify writing this book as two white women?" As we individually pondered this question, we explored our personal experiences, cultural values, personal history, and identity. We evaluated our past, upbringing, and biases and analyzed our role as allies and advocates for young children's rights to grow in a healthy, hopeful, and safe world. Our critical reflection led us to embrace the journey of writing this book, with passion and authenticity, and to develop a framework that informs our practice. We created a framework consisting of six concepts to guide our thinking and work in early childhood education. This framework includes the following core concepts:
Aesthetics, which influence children's appreciation for beauty and the arts
Authenticity, which is how children's history, values, and traditions are represented in the environment
Equity, which is the process of ensuring that all children have access to early childhood environments that represent who they are and recognize and support their strengths, culture language and heritage. Environments that intentionally respond to inequities, oppression and issues of power and privilege
Dynamic, which is the nature of culture and can describe the use of loose parts, influence children's development and learning
Praxis, which is using theory to lead our actions as we respond to children's culture, language, and values
Critical reflection, which guides us to observe, question, and respond to children's ideas and thinking
Learn more and see a full list of titles by Lisa Daly and Miriam Beloglovsky.


text:
McGee Maddox and Sara Esty are marvelous in the lead roles. (Photos by Matthew Murphy.)
Review: "An American in Paris" isn't perfect, but it's carried by those amazing Gershwin tunes
Andrew Alexander· August 17, 2017
ReviewsTheater
"I like a Gershwin tune, how about you?"
The creators of the new Broadway musical An American in Paris, the touring version of which is at Atlanta's Fox Theatre through August 20, have placed their money on the pretty safe bet that the answer to that famous old question will still be a resounding yes.
Overall, it's an appealing show, but at times, a strange one. The musical, based on the beloved 1951 film, still has those can't-fail Gershwin songs, great dance numbers and an evocative Parisian setting, but it doesn't have a great deal of what made the film so distinctive and memorable: Gene Kelly and Leslie Caron aren't in the lead roles, of course, but just as significantly, one discovers how crucial Vincente Minnelli's technicolor 1950s Hollywood dream of post-war Paris was to the film's success.
Here, designer Bob Crowley relies too heavily on projections for his sets. Though the images are often inventive, they're also flat and lose color and sharpness under bright stage lights. Overall, they lack the confectionary color and flair of the sets that gave the film its vividness.
Strangely, the evening's most elaborate and memorable set piece is from a dream sequence in which a jazz performer imagines he's on the stage of Radio City Music Hall. Clearly, something's amiss if the most eye-catching number from An American in Paris takes place in old New York. Overall, the look of the show isn't as dazzling as one would hope for.
Maddox and Esty dance steps created by choreographer Christopher Wheeldon.
Still, just as Ol' Blue Eyes indicated, it's hard to go wrong with a Gershwin tune, and the show contains many of the most beloved classics, given appealing life by a strong cast. "They Can't Take That Away From Me," "The Man I Love," "Who Cares?" and more all sound great, though somewhat problematically, the evening's best, most rousing number — "I Got Rhythm" — appears as the first song in Act One.
In keeping with the spirit of the film, dance remains a strong focus, and much of the choreography — including an extended, appealingly retro, 1950s avant-garde ballet version of the title work — was created by renowned British ballet choreographer Christopher Wheeldon, who seems to perfectly understand and honor the dreamlike, wispy, nostalgic energy that's called for. Wheeldon is familiar to local dance fans for "Rush," a piece commissioned by Atlanta Ballet and performed in 2012 and again in 2013.
Leads McGee Maddox and Sara Esty in the Gene Kelly and Leslie Caron roles dance beautifully; Esty is a former company member of Miami City Ballet, and here her character, Lise, is turned into an aspiring professional ballerina, giving her and others plenty of opportunity to perform Wheeldon's work with its fittingly throwback pop-ballet sensibility. Audience members who arrive conceptualizing the show as an evening of dance that also has some great music and a slight narrative tenuously holding things together will probably leave the happiest.
The dance sequences have an old-fashioned, dreamlike extensiveness: a wordless dance might take us from one scene to the next, or even across several scenes, or into dreams of New York, or into an imagined vision of dancing with a partner who isn't actually present. It's pretty simple, standard old-musical stuff, I suppose, but it can also be surprisingly confusing.
Some women seated next to me arrived late and were totally baffled by the goings-on, asking me to clarify at intermission, and I had to admit there were a couple of moments where I lost the plot as well. Deep into one dance sequence, characters arrived at a costume party, and with the stage suddenly populated with hallucinatory demons, harlequins and gypsies, I totally forgot which characters were meant to be at this strange party or why they were there or even if they were still meant to be in Paris at all.
Still, in the end, it's not really about the plot. The story itself may be lighter than air, but overall, An American in Paris does exactly as it should, making it very easy indeed to like a Gershwin tune.
An American in ParisAndrew AlexanderBob Crowleychristopher wheeldonfox theatreMcGee MaddoxSara Esty
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ArtsATL staff January 14, 2022
News: 19 Georgia arts organizations awarded $320,000 in NEA grants


Where do we want to take UCL public engagement in the next ten years? What stepping stones can help us achieve our ambitions together?
2018 marks the tenth anniversary of the UCL Public Engagement Unit. As part of this important year, we've been asking friends, colleagues and leaders in this area to share their thoughts about our work and how we can embed a culture in which staff, students, departments can engage with communities.
Share your ideas by emailing the UCL Public Engagement Unit at publicengagement@ucl.ac.uk or connect on Twitter by tagging @UCLEngage with the hashtag #PublicEngagementFutures. We'll announce our findings in 2019 and let you know how you can get involved in the future.


There was a time when I believed asking or accepting help was a form of weakness. I was to put on a brave face despite my inner turmoils I would suffer and reveal to the world how much of a strong 'Black' woman I was. I had to hold it down for my race and gender. My strength was a representation of every Black female out into the world. Never really having my own identity. And let me tell you…that really sucked!
Like really, who's bright idea was it to choose suffering as a sign of strength that should be copied and mimicked? Especially within the Black race in America.
America is the best county in the world and yet many of us don't take full advantage of the opportunities allotted to the occupiers of the land. The freedoms and liberties are abundant in comparison to other countries where oppression and suppression are as high as a drug addict in a dope house. For a place to be known as the land of the free and home of the brave, there are a lot of slaves and cowards going about their days without ever tapping into their greatness.
Albert Einstein once said, you cannot solve a problem with the same mind that created it. It is no surprise pride is listed as the first deadliest sin (missing the mark). Pride is the wall between sameness and change. With pride comes a need for being right and as long as one feels a sense of rightness their circumstances can never change. Why should it? Pride states 'nothing is wrong on my end.' Therefore, there is no change required on my part.
Pride is stagnating and serves as an anchor holding us in place where we are most unsatisfied with the results life presents to us.
The Bible warns us about pride in Proverbs 13:10 "Through pride and presumption come nothing but strife, but [skillful and godly] wisdom is with those who welcome [well-advised] counsel.
I have come across many individuals who are so prideful in their ways they continue to find themselves in the same type of relationships with the only difference being the face behind the actions. So instead of going within to determine what type of energy they are emitting out into the universe, they find themselves going from one relationship to another in hopes the next one will be better without first bettering themselves. Only to experience disappointment after disappointment. Always believing the other individual is not only at fault but also responsible for their thoughts, actions and volition.
Until one acknowledges there's more to life than what's currently known, pride will always get the best of them keeping them cemented in their misery.
The second type are those in denial. You know those who suppresses their feelings and put on their "brave" face and when asked how things are going they respond how great things are. Knowing damn well life for them is everything but great.
Instead of facing any issues they may have and dealing with the emotional sensations coursing through the body, they attempt to avoid it. Only to have it manifest in other ways emotionally. Hurt turns into anger. Rejection forms as abandonment. Sadness takes shape as bitterness.
Individuals who are in denial cannot be helped as long as they are avoiding the problem.
Excuse makers can be found never having time for self improvement; the 'problem' isn't their own but somebody else's; or they find a problem with every solution without any attempt of trying out the solution for themselves. Excuse makers believes there are outward forces against them. Making sure they fail at obtaining happiness. From man (police, the "White man", the government), to the system, to God , to the universe they can never catch a break.
The stubborn suffers knows better but refuses to do better. They acknowledge work and effort is needed on their part but are resistant to commitment and action. Set in their ways they live in a never ending cycle of same actions and with results of undesirable outcomes.
While they aren't blaming others they do nothing for themselves to make their lives better. They are comfortable with scraps of happiness.
I find the stubborn sufferers lazy and lackadaisical towards change. Wanting fruits for labor not put forth they rely on others for any hint of contentment. Hoping one day they'll catch a break and things will magically turn around for them.
Another thing you'll find with stubborn sufferers is that although they may desire help, they may not want it from you. I see this often in relationships. Whether the relationship is romantic, family, friendship or work, the stubborn sufferers wants what they want from a specific individual. And if that individual is unable to come through they will reject any assistance offered by another.
Unlike those in denial, the pretender hides behind a mask in public but when behind closed doors are engulfed in misery. Those who are in domestically violent relationships are pretenders. From the battered spouse to the bully on the streets neither are showing their true selves — battered and in need of healing.
Because pretenders hides behind a false self, unless one knows the signs, they can appear as someone else. For the battered spouse it can be timid or shy due to a lack of eye contact and for the bully, mean and intimidating. What's often overlooked are the root cause for their behaviors. Many times all one sees are the actions. Never taking into account the underlying causes.
This being the case unfitting labels are placed on them instead of focusing on their emotional and spiritual state of being. As this is done a new set of problems arises within them. Not only are they dealing with the original problems they now have gained a whole new set based on the labels society has placed.
Pretenders cannot be helped due to their fear of being judged as weak or stupid. Even worse have their abuser suffer consequences that gets their loved ones in trouble. In other words, they don't want the abuser to disappear out of their lives they just want the pain to end.
Individuals with the victimhood mentality are products of their environment. They are led to believe their poverty status are the result of the richer class holding them down for control and back from success. It is their belief they should be able to behave in any manner they choose with restrictions on how who they affect reacts.
Similar to the Excuse Maker, everyone and everything holds fault for the outcome of their experiences. These individuals holds a sense of entitlement where everything desired should be handed to them based on them being them. Whether it's the color of the body's largest organ (the skin), gender, sexual orientation, demographic or race, they are entitled just because.
The victimhood mentality does not hold the capacity for self empowerment or improvements. They go against the very nature of victimhood.
Individuals such as these are unable to be helped due to their level of consciousness. They see themselves as someone without control, charge and power. Therefore, they are not the source of their problems.
Chronic complainers can be the most challenging. In that their desire isn't for change but an emotional connection. They just want to be heard. All they want is an ear.
This can become emotionally draining — Unless you're a psychologist/psychiatrist. They actually get paid to listen. Unfortunately, the majority of us don't.
Chronic complainers loves drama and venting about the drama they either caused upon themselves or allow. They are addicted the the chemicals associated with frustration, anger, sadness, etc. It's what makes them feel alive.
Solutions are rejected as they insist on focusing squarely on the issue and its affects. Making help unattainable.
By recognizing, acknowledging and accepting you will not be able to help those you desire will save from a lot of frustration in the end. Instead trust in and rely on God to place in your direct path those who will benefit from your help, kindness, understanding and love.


dh_cligacpolicy: "debian/control" not found. Are you sure you are in the correct directory?
Usage: dh_cligacpolicy [options] dh_cligacpolicy is a part of debhelper. See debhelper(7) and dh_cligacpolicy(1) for complete usage instructions.


what's up with her neck/face?
What do you think about these couple?
What do you think about "payzer"
Do you think these people are a cute couple?
Quel est le contraire du contraire ?
Pick a picture that represents God to you..
So does HeyCrowd send you an email whenever you ask a question now?
What's the capital of Poland?
Can the average person lick their own armpit?


ASP.NET is a powerful development platform and, compared to ASP Classic, it is a giant leap forward.
But, this extra power also brings new dangers. In ASP Classic, the damage caused by malicious code running on the server was somehow limited by the built-in limitations of the ASP Classic object model. In ASP.NET, due to the number of classes exposed by the .NET framework, malicious code has the potential to be much more damaging and dangerous.
Where Does the Malicious Code Come From?
The scenario that I describe in this article is one where a malicious user is able to execute ASP.NET scripts on your server, under a normal Web site application, configured to execute code with Full Trust.
Due to the limitations created by Partially Trusted environments in the current version of the .NET Framework, practically everybody is running their applications with Full Trust.
If you have been involved in developing COM objects for ASP Classic, you know how powerful they are. A COM object running IIS 5.0 will have access to huge sections of the Windows API (even if running with a low-privileged account).
That is why most ISPs and System Administrators would never allow the installation of third-party (in other words, created by you) COM objects in their servers. They would argue that the objects had high security risks and would reject such requests.
What you might not be aware of is that, due to the objects exposed by the .NET framework, any ASP.NET page behaves like a COM object and (if being executed in a Full Trust environment) will have direct access to the Windows API and several Internal Windows management tools such as WMI, ADSI, and LDAP.
Although most issues identified in this article are 'features' and not 'vulnerabilities,' from a security point of view they create threats that could be exploited by malicious users.
With the power of the .NET framework, a malicious user is more limited by his imagination and programming skills than he/she is by ASP.NET (unless the sever is securely configured, which will remove some of these attack vectors).
The examples provided are written in VB and the code should be self-explanatory. In future articles, I will provide more examples of what can be done with direct Win32 API functions and WMI.
These little examples will execute "Notepad.exe" on the server (confirm by checking the server's "Task Manager"). Of course, a malicious user would execute something a little bit more damaging.


Reputed Management Company need senior accountants and store clerks. There are huge number of vacancies available. Candidates with skill and experience in can apply for this position. Applicants need to appear for the Oman job Interview conducted by the Mumbai consulting company. Job applicants need to mail their updated bio data with their experience and skill credentials to the given email id as soon as possible. Candidates will be selected for the suitable divisions in the company after the interview process is finalized. Applicants will be designated according to their understanding, experience and skills.
B.Com, 2 year's eperience in accounts job,Good communication skills in English. Age 21-30 years.
Send your updated Bio data with all the relevant documents to the given email address as soon as possible.


text:
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Daredevil #22 (2013) Comic Review - www.impulsegamer.com -
Daredevil #22 (2013)
Writer: Mark Waid / Artist: Chris Samnee
Reviewer: Jose Castellanos
Review Date: Jan 2013
Daredevil becomes the quarry of none other than the Superior Spider-Man in a self-contained adventure by Mark Waid and Chris Samnee. Otto Octavius -now possessing the body and abilities of Peter Parker- hunts the man without fear after being asked by an unknowing Kirsten McDuffie, who is concerned about Matt Murdock's already-fragile mental state.
The fight between both characters turns out to be of much benefit for Doc Ock, who is slowly learning that it is not enough having his enemy's face, powers, and memories if he expects this ruse to work. Daredevil is the perfect man to teach him that lesson, and the way Waid writes it is fun, by making all the subtleties and small details count more than what's skin deep. Samnee and Rodriguez clearly have fun with the entire fight sequence, and it shows in their work.
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CINCINNATI— The formation and vast influence of China's landmark Qin dynasty will be showcased in Terracotta Army: Legacy of the First Emperor of China from April 20 through August 12, 2018.
This special exhibition includes 120 objects drawn from the collections of Chinese art museums and archaeological institutes. More than 40 of these works have never been on view in the U.S. before this exhibition.
Expanding upon previous exhibitions, Terracotta Army not only includes the impressive terracotta figures, but also considers important works of art from the Qin's neighboring states and tells the story of the nomadic peoples of northwestern China.
Dating from 770-206 B.C., these works of art, excavated from the emperor's mausoleum as well as aristocratic and nomadic tombs, richly reflect history, myths and burial practices in ancient China. In addition to the nine life-size terracotta figures, the exhibition includes a cavalry horse, arms and armor, ritual bronze vessels, works in gold and silver, jade ornaments, precious jewelry and ceramics.
"This international exchange is a momentous occasion for our museum and the Greater Cincinnati region. The original scholarship supporting the exhibition and the opportunity for Cincinnati to learn about the legacy of the First Emperor will be a revelation to every visitor to the museum. We are proud to showcase the splendor of the art and history of China through our ambitious partnership with Shaanxi Province," said Cameron Kitchin, Cincinnati Art Museum's Louis and Louise Dieterle Nippert Director.
The Cincinnati Art Museum co-organized the exhibition with the Virginia Museum of Fine Arts (VMFA), where it makes its debut from November 18, 2017 to March 11, 2018. The exhibition is presented in partnership with Shaanxi Provincial Cultural Relics Bureau, Shaanxi History Museum (Shaanxi Cultural Heritage Promotion Center), and Emperor Qin Shihuang's Mausoleum Site Museum of the People's Republic of China. Dr. Hou-mei Sung, Curator of Asian Art at the Cincinnati Art Museum, curated the exhibition with Li Jian, the VMFA's E. Rhodes and Leona B. Carpenter Curator of East Asian Art.
Terracotta Army's story begins with Ying Zheng (259-210 B.C.), who became the first emperor of China in 221 B.C., after his army defeated other regional states and unified the country. After coming to power, he implemented fundamental cultural, political and economic reforms and established China's core territory.
In 1974 local farmers digging a well outside the city of Xi'an in Shaanxi province, China, discovered pottery shards and bronze arrows near the mausoleum of Ying Zheng. This led to the astonishing discovery of 8,000 life-size terracotta warriors and horses, which is considered one of the most important archaeological finds in human history. The mausoleum was named a UNESCO World Heritage Site in 1987.
Significantly, the exhibition considers the relationship between the first emperor's Qin dynasty (221-206 B.C.) and other peoples, exploring their distinctive artistic styles and fostering an appreciation of diverse cultures. The exhibition also provides a glimpse into ongoing excavations and research, which continue to shed new light on the Qin culture and the First Emperor's burial complex.
"I believe this exhibition will provide a great opportunity for American audiences to understand the daily life of Qin people and the visual culture of the empire more than 2,000 years ago. This exhibition actively promotes cultural exchange between China and the United States, and increases understanding and friendship between peoples of both nations," said Dr. Zhao Rong, Director of the Shaanxi Provincial Cultural Relics Bureau.
A major scholarly catalogue titled Terracotta Army: Legacy of the First Emperor of China accompanies the exhibition. It includes contributions from the curators and other scholars and features new scholarship and research based on recent excavations.
The exhibition will be on view in the Western & Southern Galleries (232 and 233). Organized with the generous support of the Harold C. Schott Foundation. It is presented by CFM International, and supported by the John and Dorothy Hermanies Fund, the E. Rhodes and Leona B. Carpenter Foundation, Christie's, Elizabeth Tu Hoffman Huddleston, and the Jeanann Gray Dunlap Foundation.
Tickets for Terracotta Army: Legacy of the First Emperor of China are free for museum members and are available for purchase by the general public at the Cincinnati Art Museum front desk and online at cincinnatiartmuseum.org.
The exhibition includes an interactive activity, family and gallery guides and related programs will be held at the museum throughout the spring and summer. The Art After Dark on Friday, April 27, 5–9 p.m., will be themed by the exhibition and will include free admission to the exhibition. Other events include Family First Saturday: Explore China on May 2, 2017, 12–4 p.m., and the Fourth Annual Cincinnati Asian Art Society Lecture, which will focus on the terracotta army on May 6, 2018, at 2 p.m. Find more information at cincinnatiartmuseum.org/terracotta.


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Sir Wilmot Hudson Fysh, KBE, DFC (7 January 18956 April 1974) was an Australian aviator and businessman. A founder of the Australian airline company Qantas, Fysh was born in Launceston, Tasmania. Serving in the Battle of Gallipoli and Palestine Campaign as a lieutenant of the Australian Light Horse Brigade, Fysh later became an observer and gunner to Paul McGinness in the AFC. He was awarded a Distinguished Flying Cross during the aftermath of the war for his services to aerial warfare.

Fysh, alongside Paul McGinness and Sir Fergus McMaster started Qantas in 1920. Despite government ownership, Fysh became managing director and chairman of Qantas. A committee member of the International Air Transport Association, he became president of the organisation in 1960. He was also one of the founders of the Australian National Travel Association, now known as the Australian Tourist Commission, a member of the Royal Aeronautical and British Interplanetary society, the Institute of Transport and the Australasian Pioneers Club.

Acknowledged for his work as an aviation historian, Fysh wrote books on the history and development of Qantas, exemplifying the airline's role in both military and civil aviation. Authoring a trilogy of memoirs dealing with the impact of Qantas in history, the series drew comparisons by critics towards Winston Churchill's The Second World War.

Fysh died in Paddington at the age of 79, on 6 April 1974.

Early and personal life

Wilmot Hudson Fysh was born in the city of Launceston in Tasmania, Australia, on 7 January 1895. His father, Frederick Wilmot Fysh, was a merchant, while his mother, Mary (née Reed), was the daughter of a famous landowner, Henry Reed. Fysh was the oldest of five siblings; Hudson, Henry, Margaret, Mary and Graham. He was also the great-nephew of Sir Philip Fysh. His childhood was marred by the failure of his parents' marriage and his father's business. Originally staying with his father, he ran away so often that eventually he was able to stay with his mother. Living in St Leonards—a suburb of Launceston—until 1914, he enlisted in the Light Horse upon the start of World War I.

Educated at Launceston and Geelong grammar schools, Fysh worked as a jackaroo and woolclasser after his education. He was also a cadet in the 70 Infantry Militia as a teenager, before volunteering for the Tasmanian 26th Light Horse upon the outbreak of war. After the foundation of Qantas, Fysh, being a poor student at school, tried to make up for his lack of training by studying economics and taking a course in pelmanism. After his retirement from Qantas, Fysh received an honorary degree of Doctor of Engineering (EngD), in a commemoration ceremony from the University of Tasmania, in 1971.

Described as a man of "great political acumen" and having "a hard head for business", Fysh had a reputation as a stern, uncompromising taskmaster. This contrasted against his "shy, quiet" nature; he described himself as "painfully shy...as a child feeling looked down on, sensitive, and socially lost." Fysh felt these feelings never left him, being "ill at ease with fame or publicity." Described as single-minded in many instances, his insistence on using a D.H.86 (De Havilland Express 86) lead to a bitter clash and eventual fall-out between Fysh and Sir Gordon Taylor. Fysh also made rivals in other airline entrepreneurs such as Norman Brearley, a founder of Western Australian Airways.

On 5 December 1923, Fysh married Elizabeth Eleanor ("Nell") Dove, from Hunter River, in St James Church, Sydney. They had a son and daughter, John Hudson Fysh and Wendy Elizabeth Fysh, both born in Longreach, Queensland. Fysh described his family as "his bulwark against the [company's] relentless pressures"

World War I

On 25 August 1914, Fysh enlisted in the 3rd Regiment of the 1st Australian Light Horse Brigade at a training camp in Pontville, Tasmania, following the declaration of the Great War. Initially commissioned as a private, Fysh was transported from Hobart on the HMAT Geelong to Egypt on 20 October 1914. He received his training in Egypt, and arrived at Gallipoli in May 1915; only two weeks after the initial Anzacs had arrived. Fysh was evacuated in December 1915, after serving for 7 months in the Australian Imperial Force.

He served in Palestine and Sinai, fighting in the Palestine Campaign for the 'C' Squadron of the Light Horse Regiment. He was transferred from Palestine on 17 July 1916, to the 1st Light Horse Brigade, Machine Gun Squadron. First promoted to corporal, he was commissioned as a lieutenant in January 1917. Fighting under lieutenant Ross Smith in the Light Horse, he soon replaced Smith as the section officer when Smith was transferred to the Flying Corps.

In July 1917, Fysh requested a transfer from the Light Horse Brigade to the Royal Flying Corps. After months of training, he qualified as an observer and gunner, in October 1917. Originally fighting for the Royal Flying Corps No. 67 squadron, he later fought for the No.1 Squadron of the Australian Flying Corps, under the command of Major Richard Williams.

In the Flying Corps, Fysh was gunner to Major Sydney W. Addison and later to Lieutenant Paul McGinness. Engaging in battle as gunner in a Bristol Fighter, against German and Turkish aircraft in the Middle Eastern campaigns, Fysh was an observer ace, shooting down 5 enemy aircraft. On 8 January 1919, Fysh was recommended for the Distinguished Flying Cross. The award was gazetted in the London Gazette and the Commonwealth of Australia Gazette on 8 February 1919 and 23 May 1919 respectively.

His citation read:

Career

Survey of the Great Air Race

On 28 February 1919, at Heliopolis, Fysh received his flying licence, graduating as a scout pilot. In March 1919, an announcement was made by the Prime Minister of Australia, William Morris Hughes, of a Great Air Race for the "first successful flight to Australia from Great Britain in a machine manned by Australians". The prize money was £A10,000 (or £8,000 sterling), under the condition that the flight is completed within 720 hours, and before midnight of 31 December 1919. Deciding to join the race, Fysh regrouped with Paul McGinness as his co-pilot.

To fund the race, McGinness approached Sir Samuel McCaughey, the man who donated the plane that McGinness flew in for World War I. McCaughey agreed to fund the race, and they were joined by Arthur Baird, their flight-sergeant engineer during the war. Prior to the race, on 25 July 1919, McCaughey died and his executors refused to honour his agreement with McGinness. As a result, plans for the race were abandoned. Instead, Fysh and McGinness were commissioned to survey Northern Australia for the preparation of the Air Race, by Major-General James Gordon Legge (later Lieutenant-General) from the Defence Department. They were instructed to survey the route from the town of Longreach, past Katherine, and ending at the state capital of Darwin, in the Northern Territory.

Arriving in Longreach in August 1919, they acquired a Model T Ford, as a transport for the survey, and were accompanied by a mechanic, George Gorham. Leaving Longreach on 18 August 1919, the group traveled through Winton, Kynuna and McKinlay, reaching the town of Cloncurry on 20 August 1919. They were the first people to travel across the Gulf of Carpentaria, using an automobile. The team traveled through Burketown, the stations of Westmoreland and Wollorgorang, before reaching Hobble Chain Creek. From there, they traveled through Big Running Creek, Calvert River, Warbys Lagoon, Snake Lagoon, Fulch River, Werrin River, Fletcher River, Feathertop Creek. As none of the rivers have bridges, the group had to wade across the rivers. Following a route taken by Ludwig Leichhardt in 1845, they reached Borroloola. Fysh began a diary of maps and photography, to record their journey across Northern Australia.

Leaving Borroloola on 25 September 1919, they followed the Roper River, and arriving at Katherine on 8 October 1919. From Katherine, they took a train, Leaping Lena, to Darwin. In total, the pair had traveled through 2180 kilometre in their Model T Ford, taking up 51 days for their trip from Longreach to Katherine. As a result of their journey across the outback, the group found Legge's route lacking the necessary open space for aircraft landing. Fysh and McGinness became convinced that an alternate route through the Barkly Tableland will be more convenient for the winners of the air race, after talking to some motorcyclists from Sydney.

Upon reaching Darwin, McGinness and Gorham traveled back to Cloncurry to survey and build landing routes on the way there, while Fysh was to stay in Darwin and create suitable landing strips there and at Katherine. In a letter addressed to General Legge dated to 30 October 1919, Fysh rejected the use of the racecourse in Darwin, which was originally picked by Reginald Lloyd (the head of the first ground survey to find a suitable route for the aircraft), as the landing ground for the winning aircraft. He then suggested an alternate strip, locating one near Fannie Bay, to the north of Darwin. Shortly before the landing of the Smith brothers, the landing strip at Fannie Bay was completed at the cost of £A700.

On 10 December 1919, the team of Ross Smith, Keith Smith, Jim Bennett and Wally Shiers, winners of the Great Race, arrived in Darwin and were greeted by Fysh (as the official representative of the Defence Department). Deciding to return to Longreach in May 1920, Fysh met Alexander Kennedy, when he was given hospitality in Kennedy's homestead, Bushby Park. As McGinness had stopped at the homestead earlier on his way to Cloncurry, Kennedy told Fysh about McGinness' idea of an airline service for the region.

Foundation of Qantas

After reuniting at the Cloncurry Post Office, McGinness and Fysh started to make plans to build their airline service, confident in the future of commercial aviation. Writing about his experiences in the outback in his autobiography, Fysh commented that:

Earlier on, McGinness had met a grazier, Fergus McMaster, when McMaster's car axle had broken down on a bed in Cloncurry River. McGinness fixed the car, gaining the respect of McMaster. McGinness and Fysh headed off to Brisbane, further developing their plan along the way. Coincidentally, McMaster also went to Brisbane. Upon realising this, Fysh and McGinness, explained their airline plans to him. The initial plans for the airline service consisted of joyriding, air taxi trips and charter services spanning the Northern Territory— Western Queensland region of Australia. As a result, on 20 June 1920 in Brisbane's Gresham Hotel, McGinness, Fysh, McMaster and Alan Campbell, an adviser for the Queensland Primary Producers, began to register the new airline company. The registration of the company was not finalised that day. It took several months before a name and the necessary funds were found for the business.

Funds for the company were lacking. Demonstrating his faith in the airline, Fysh invested his savings of £A500 (£400 sterlings), while McGinness invested £1000. After being contacted by the group, Arthur Baird joined them in the idea, once again closing his garage business. A main investor for Qantas was Ainslie Templeton, a friend of Fergus McMaster and a woolgrower in the Longreach district, who promised to match McMaster's investments in the "air service project", upon being told of the idea. Fysh and McGinness then traveled through the towns in the Northern Territory and Queensland, asking for investments for the airline. They were met with positive responses. After observing a shareholder writing "Donation" across the cheque butt, Fysh wrote:

After trying many different names for the company, the Queensland And Northern Territory Aerial Services Limited or Qantas was chosen, a name that McMaster later stated was created "with Anzac as its inspiring factor". Qantas was formed on 16 November 1920, with Fysh, McGinness, McMaster, Ainslie Templeton, and Alan Campbell in the Gresham Hotel, with an initial paid-up capital of £A6,700 (£5,360 sterlings). The job of executive chairman of the airline was given to McMaster, with Winton becoming the head office and "the official birthplace of Qantas".

Partially due to McMaster's intervention, the original plans for air-taxi work and joyriding gave way for airmail services, which would link communication in the settlements between Darwin and Longreach. McMaster summarised it as "an aerial mail service from Longreach to Port Darwin, connecting at Winton, Cloncurry, Avon Downs, Anthony Lagoon, Newcastle Waters and The Katherine", therefore making it the longest direct air service in the world at that time. Another plan for Qantas came forth with Dr Frederick Archibald Michod, a doctor and aviator in Longreach who became foundation director of Qantas after its formation. Visiting cattle stations and private properties to give medical treatment, Michod was aware of the difficulties faced in the outback. Establishing a hospital in Longreach, he often used his aircraft as an aerial ambulance. He proposed an idea for a "flying doctor", which would later take form in the late 1920s with the Presbyterian minister, John Flynn.

The airline was provided with a wool store as their first hangar by A.J.B. McMaster, owner of Alba Woolscour, original Qantas shareholder and older Brother of Sir Fergus McMaster. On 7 February 1921, the first and only Qantas board meeting in Winton was held in the Winton Club, three days after the pilots landed, on 10 February. A quick decision was made to move Qantas headquarters to Longreach, which would be more central to operations, with easier access to passengers and spare parts.

Qantas first fleet and flight

In August 1920, Fysh and McGinness ordered their first aircraft for the company from Mascot Aerodrome, the first airport in Australia – two Avro 504K with Sunbeam Dyak engines, bought at £A1,425 each. The purchase for the 504K was dated 19 August 1920, and under the name of The Western Queensland Auto Aero Service Limited. The Avro was one of the original, of six, military aircraft built in Australia by AA & E Co. Ltd. upon the orders of the Commonwealth Government for the Royal Australian Air Force (RAAF). AA & E later went into liquidation after falling to their cheaper British competitors.

However a delay in the engines caused anxiety in the pilots, with their financial circumstance lingering. A decision was soon put up to order a third aircraft, with the company considering both the Avro 547 triplane and the "Westland Limousine Machine". After initial misgiving by McMaster, Fysh and McGinness finally settled for the Avro triplane. The Avro 547 was bought for £A2,798, and was considered a revolution in airplane technology, able to hold 4 passengers in an enclosed cabin. The Avro had also won a £A10,000 competition sponsored by the Daily Mail for the "best commercial aircraft". Due to their financial circumstances however, the order for one of the Avro 504K was cancelled.

After being informed that the Dyak engine was ready by the owner of the Aerodrome, Nigel Love, on 23 November 1920; they were told that the Avro 504K would be ready by December. However the aircraft was delayed until 25 January 1923, upon which McGinness send a wire message to McMaster stating that all tests have been complete with satisfactory results. Fysh, who was also in Mascot, was left redundant due to the cancellation of the second Avro 504K, until Charles Knight, a Longreach stock and station agent, requested him to fly a RAF B.E.2e back to Longreach. Despite only having thirty minutes of practice on the BE2e during his pilot licence training, Fysh agreed to fly it, with Baird as his passenger. Fysh later stated that "when I took the aeroplane over, the problem of my own temporary redundancy was solved".

On 31 January 1921, 6 days after McGinness sent the message to McMaster, McGinness, Fysh and Baird took off from Mascot aiming to reach Moree before dark. Due to the strong winds and turbulence, the BE2e began to spin, disorientating Fysh in the process. Landing his aircraft on an upside slope of a hill, they came to rest near a miner's cottage. Fysh and Baird soon found out that they were near Red Head mine (formally named "Lambton B Pit"), close to Singleton.

Joining McGinness, who had safely arrived in Singleton, they flew northwards; stopping at Moree, St. George, Charleville, Blackall, and then at Barcaldine, the last stop before reaching Longreach. Meeting at Barcaldine with McMaster, who had caught the train from Rockhampton to the town, McMaster decided to fly with them to Longreach, hoping their arrival in the town would be "impressive and historical". Reaching Longreach in the scheduled time, the flight beat the mail train from Barcaldine by 20 minutes despite the train leaving Barcaldine 2-hour earlier. Mapping the airline's short-term future in the Shakespeare Hotel in Longreach, they soon planned the last leg of the journey to Winton.

With Ainslie Templeton accompanying McMaster and McGinness in the Avro, Fysh flew with the owner of the aircraft, Charles Knight, to Winton on 7 February 1921. The trip of one and a half hours took considerably longer than that, with McGinness steering in the wrong direction, causing them to lose their path. They finally reached Winton after 3 hours of flight, with 15 minutes worth of fuel left. After "landing gracefully" to the cheering of a crowd in Winton, they were "entertained at a smoke concert at the North Gregory Hotel." In the hotel, McMaster outlined the links between aviation and defence, in reference to the future of Qantas.

The next day, the 2 aircraft took off from Winton to return to Longreach. With Knight as his passenger in the BE2e, Fysh lost his way, missing Longreach by ; he navigated his way back to the town by following the Thompson River. The journey, coupled with the earlier delayed trip when flying from Longreach to Winton, proved to be too much for Knight, who sold the BE2e to the company upon landing, swearing that "nothing would induce him to fly again." The cost of the aircraft was £A450 which was partially bought, as insisted by McMaster, in the form of shares to the airline company.

Further career with Qantas

In 1922, Qantas was successful in bidding for the second Australian scheduled air route, which was to be established between Charleville and Cloncurry. The route was backed by the government, procured by relations between Qantas and regional politicians. While still piloting regularly until 1930, hard working Fysh studied business and management, and became managing director in 1923. When the airmail route to England was planned, Qantas successfully tendered, with Fysh involved in planning the route in the years 1931 to 1933. The final agreement saw Qantas flying the airmail to Singapore, where British Imperial Airways would take over. 1934, Qantas and Imperial Airways built a new company, Qantas Empire Airways, with both companies holding 50% of the stock. Fysh became managing director in the new formed company as well. He was also a co-founder of the Tasman Empire Airways Ltd in 1940, which later should become Air New Zealand.

Second World War was hitting the prospering business of Qantas hard. Japanese attacks in Singapore destroyed half of Qantas' fleet, the airport in Darwin was under attack as well. Fysh, still an officer in the RAAF, took responsibility for using Qantas equipment in war-related efforts, for example evacuation and supply flights. In 1946, the Australian government bought Qantas for market value. Fysh was the only manager of the company who supported this course of events. After finishing the negotiations, he became chairman of now government-owned Qantas, succeeding his co-founder McMasters. In 1955 he retired from the position as managing director. After controversies with the rest of the Qantas board, he eventually retired as chairman in 1966.

Published works

A writer of aviation history, Fysh authored many books during and after his career. In the biography Taming the North: The Story of Alexander Kennedy and Other Queensland Pathfinders which was first published in 1933, Fysh details the life of Alexander Kennedy, the first paying passenger for Qantas and a well-known pastoralist, later recording Kennedy's life in the Australian Dictionary of Biography. Fysh also wrote The Log of the Astraea, a book on the Imperial Airways monoplane airliner Astraea and the events surrounding the airmail flights to England, which eventually led towards Qantas' partnership with the Imperial Airways.

However his most successful publication was an autobiographical trilogy dealing with Qantas' history and its role in World War II and transportation in Australia. The first book in the trilogy, Qantas Rising: The Autobiography of the Flying Fysh, is an autobiography of Fysh's life, from World War I and the development of Qantas to the expansion of Qantas into Qantas Empire Airways in the mid-1930s. The book was "one of the very few autobiographies of airline pioneers", and was noted as "much to be welcomed" by critical review.

The second book in the series, Qantas at War, was written about the changes of Qantas and the Imperial Airways in times of nationalization and war. The book follows the dispute between Qantas. Following the positive response from the prior book in the trilogy, Qantas at War was compared to Winston Churchill's six-volume history series The Second World War. Higham (an aviation historian and professor of history) wrote that they (The Second World War and Qantas at War) "are well-written memoirs of the higher direction" and "both leave room for other works which will more mundanely examine the whole of the problems and set the story in its general milieu". When addressing future historians, he states that they "will ever remain most grateful to Sir Hudson for these memoirs".

The trilogy was completed with Wings to the World which was published in 1970. The book oversaw the expansion of Qantas, from the introduction of the Super Constellations to the beginnings of the jet era. Taming of the North, Qantas Rising, Qantas at War and Wings of the World, alongside Front-Line Airline by E. Bennett-Bremner, was selected for a series titled the Qantas Foundation Memorial Book Set. Also authoring a biography on Henry Reed, titled Henry Reed: Van Diemen's Land pioneer in Hobart, 1973, Fysh wrote a profile on the merchant in the Australian Dictionary of Biography in 1967. He also wrote a treatise on trout fishing, Round the bend in the stream, in 1968.

Tributes
As a result of his contributions to international aviation, he was knighted in 1953, becoming a Knight-Commander of the Order of the British Empire.

He received an honorary Engineering Doctorate in 1971.

After Fysh's death on 6 April 1974, to mark the centenary year of Australia Day, he was named in the list of "100 most influential Australians of the century" by the Sydney Morning Herald.

In theatrical productions, Fysh was portrayed by Brendan Hanson in the Australian television mini-series, Air Australia, a documentary depicting the history of early Australian aviation.

In 2002, Fysh was inducted into the Pacific Air Travel Association's Gallery of Legends for "personal excellence, integrity and a lifetime contribution to travel and tourism", the tenth person ever to be inducted.

In late 2008, an Airbus A380 was named after Hudson Fysh in recognition of his contribution to the aviation industry and Qantas.

There is a Hudson Fysh Avenue in Parap, Northern Territory near the old Darwin Airport runway.

The sample card of Qantas Frequent Flyer and Qantas credit card products all have W H Fysh as placeholder name.

See also
 Fergus McMaster
 Qantas

References

Footnotes

Further reading

Manuscript sources

 Sir Hudson Fysh papers, ca.1817-1974, Include papers, ca. 1922-1966 in files with a detailed list compiled by Sir Hudson Fysh; correspondence 1912-1974, diaries and personal items, 1917-1973, speeches and articles, etc. ca. 1817-1974; manuscripts of published works and records of Qantas and associated companies, 1920-1927, State Library of NSW.
 Sir Hudson Fysh further papers, 1921-1970, Include articles, speeches, press statements, messages to staff etc. mainly on aviation; and typescript copies of Qantas Gazette bound with printed copies, Jan 1925, Nov 1929, Jan. 1930, Dec. 1934, State Library of NSW.
 Sir Hudson Fysh further papers, 1913-1974, State Library of NSW.
 Sir Hudson Fysh - papers concerning Qantas Empire Airways, 1950-1961, This collection consists of the following 2 series. 1. Chairman's inwards correspondence registers, 1950-1958, 2. Chairman's personal and miscellaneous correspondence files, 1952-1961, State Library of NSW.
 File 070: Qantas and correspondence with Sir Hudson Fysh, 1966-1969, State Library of NSW.

Pictorial collections

 Sir Hudson Fysh - glass plate negatives, State Library of NSW
 Series 02: Sir Hudson Fysh pictorial collection, State Library of NSW

External links

 G. Barker, Aviation in Australia: the origins of an Australian icon, State Library of New South Wales
 J. Percival, Fysh, Sir Wilmot Hudson (1895–1974), Australian Dictionary of Biography, Volume 8, Melbourne University Press, 1981, pp. 603-605

1895 births
1974 deaths
Australian aviators
People educated at Launceston Church Grammar School
People educated at Geelong Grammar School
People from Launceston, Tasmania
Recipients of the Distinguished Flying Cross (United Kingdom)
Australian Knights Commander of the Order of the British Empire
Australian World War I flying aces
Australian military personnel of World War I
Australian company founders
Qantas people
20th-century Australian businesspeople
20th-century Australian historians

redpajama_set_name: RedPajamaWikipedia


A maximum choices of colors and finishes for aluminium cladding!
Creativity requires a broad palette of colours, designs, glosses and textures. Arconic Architectural Products SAS (AAP) provides you with the exact colour and coating you need – even for small batches.
Aside from the colours of our colour charts, Reynobond® aluminium composite panels, Reynolux® pre-painted aluminium and Reynodual® pre-painted double sheet aluminium panels can be acquired in a myriad of other potential colours. All standard colours in the RAL- and NCS-colour charts can be supplied, as well as custom colours. Many colours are also available with surfaces in a powder-coated look. Please ask our service consultants about this.
AAP also provides you with a variety of different coatings systems and technical coatings according to your needs.


In a world filled with ever changing and increasing threats those who work in public safety must continue to develop and prepare to meet those threats. Criminal investigations no longer stop at the water's edge. It is expected that the dive team who recovers the evidence do so in a manner that is as professional and proficient as any investigator on land. They are designed to prepare public safety dive teams to professionally and proficiently exceed the standards expected of today's public safety professional.
Many public safety dive teams conduct urgent rescue dives in an attempt to save lives. The knowledge to safely and efficiently rescue someone is irreplaceable in the public safety diving community. These skills are also in demand on public safety recovery teams. Their divers often must enter waters that can pose hazards to the team members. Having trained public safety divers, on site, ready to conduct a rescue, can mitigate some of these threats.
Knowledge development (home study and in a classroom) to understand the basic principles of public safety diving.
Open water exercise dives to learn basic rescue skills and refresh the student on basic dive skills.
Open water dive scenarios to provide the student and dive team opportunities to put into practice the skills and knowledge they have just learned.
Required Gear: Mask, fins, snorkel, dive boots, at least 2 separate cutting devices, visual and audible surface signaling devices, pocket mask, and at least a light weight wetsuit.
Through a series of rigorous dives you will gain invaluable knowledge about public safety recovery diving from skilled professional public safety divers. This is truly a hands-on training program that involves intensive diving to prepare the public safety diver for the challenging diving conditions normally faced in this field.
The first part of the course involves knowledge development in a classroom setting. It is in this section in which you will learn about the fundamentals of recovering objects and victems from underwater. This knowledge is important because you will later use it to help you conduct searches, recoveries, and document each step of a mission.
The second part will consist of at multiple dives. On these dives you will further develop the knowledge you learned in the first part. You will practice different searching and recovery skills in controlled, but realistic situations. Much of this diving will be conducted in low to zero visibility environments.
The third part of the Course will consist of actual searches in areas objects may have been disposed of. These may be conducted in a lake or river; your instructor will advise you as where your class will be diving. During the mission dives you will put all of your dive skills to the test.
This set of a series of courses builds on your previous public safety training. It focuses on training you o use advanced techniques to conduct some very challenging recovery situations. It focuses on four areas; advanced body recovery, vehicle recovery, advanced evidence recovery, and underwater metal detector skills. Finally, the dive team must employ all of these skills to resolve two complex scenarios.
Each subcourse starts with a knowledge development building classroom session, where the fundimentals of the skill are discussed.
The classroom knowledge is then applied to open water exercise dives. During these dives, the team has the opportunity to develope and then practice these advanced skills.
Finally, on the last day, the team is presented with open water dive scenarios. During these scenarios, the team will be presented with challenges they must resolve using the skills they have mastered during the previous classes.


text:
Q: React and Redux - Cannot render one component in another I have a component TrialForm.js and I want to render this in another component called TimelineNodeEditorDrawer.js. I think the problem might be that I use the MuiThemeProvider in both files and material UI might not allow that.
TrialForm.js:
class TrialForm extends React.Component {
constructor(props) {
    super(props);
}
render(){

...(some code)

var form =
<SelectField
        value={this.props.pluginType}
        floatingLabelText="Plugin Type"
        maxHeight={300}
        style={pluginStyle}
        onChange={(event, key) => this.props.onChange(plugins[key])} >
        {pluginItems}
        </SelectField>
        {pluginParameters}

    } else {
        var form =

;
    }
    return(
        <MuiThemeProvider>
        {form}
        </MuiThemeProvider>
        )
   }
}

export default TrialForm;

TimelineNodeEditorDrawer.js:
export default class TimelineNodeEditorDrawer extends React.Component {
constructor(props) {
    super(props);
}

render() {
    return (
        <MuiThemeProvider>

...(some code)

                {(this.props.open) ?

                        <IconButton
                        disableTouchRipple={true}
                        hoveredStyle={{backgroundColor:
                        CloseBackHighlightColor}}
                        onTouchTap=
                        {this.props.closeTimelineEditorCallback}
                        >{(this.props.open) ?
                        <CloseDrawer hoverColor=
                        {CloseDrawerHoverColor}/> : null}</IconButton>
                        <Subheader>Timeline/Trial Editor</Subheader>

                    <Divider />
                    <TrialForm id={this.props.id} pluginType={this.props.pluginType} />

 : null}

For more clarification, here is a screen shot. It is the drawer on the right side. The text fields to the far right should all be under 'Timeline/Trial Editor':
screen shot
Edit
index.js:
const store = createStore(rootReducer, applyMiddleware(thunk));

injectTapEventPlugin();
ReactDOM.render(
  <MuiThemeProvider>
  <Provider store={store}>
  <App />
  </Provider>
  </MuiThemeProvider>,
  document.getElementById('container')
);

The TrialForm.js and TimelineNodeEditorDrawer.js stay the same except that I removed the MuiThemeProvider and put a div tag instead. If it helps, the entire git repo(without these changes) are here
This is the render of my App.js. I put TrialForm inside TimelineNodeEditorDrawer and now the drawer is back to the width it is supposed to be but I can't see anything from TrialForm. I don't know whether that was a step in the right direction or not.
App.js:
    render() {
    return (

                <Appbar />

                <TimelineNodeOrganizerDrawer
                    open={this.state.timelineOrganizerDrawerToggle}
                    width={this.state.timelineOrganizerDrawerWidth}
                    openCallback={this.openTimelineOgranizerDrawer}
                    closeCallback={this.closeTimelineOgranizerDrawer}
                    setWidthCallback={this.setTimelineOrangizerWidth}
                    openTimelineEditorCallback={this.openTimelineEditorDrawer}
                    closeTimelineEditorCallback={this.closeTimelineEditorDrawer}
                />

                <Preview />

                <TimelineNodeEditorDrawer open={this.state.timelineEditorDrawerToggle}
                    openTimelineEditorCallback={this.openTimelineEditorDrawer}
                    closeTimelineEditorCallback={this.closeTimelineEditorDrawer}>
                    <TrialForm open={this.state.timelineEditorDrawerToggle} />
                </TimelineNodeEditorDrawer>

      );
    }
 }

 export default App;


text:
Movie ratings can deem tobacco use OK for kid's films, judge says
A U.S. District Court has ruled that the the Motion Picture Association of America has the right to assign whatever rating it wishes to movies that depict tobacco use, rejecting a claim form a parent who felt that a PG-13 film encouraged his kids to take up smoking.
Deadline reports the ruling was issued by Judge Richard Seeborg of San Francisco in response to a class action lawsuit filed by Timothy Forsyth in February. Forsyth says he brought his 13- and 12-year-old children to a PG-13 movie that depicted tobacco use — which he claims should have automatically made it an R-rated film.
According to Forsyth's lawsuit, tobacco use in movies should be rated R unless it "clearly and unambiguously reflects the dangers and consequences of tobacco use or is necessary to represent the smoking of a real historical figure who actually used tobacco."
However, Judge Seeborg ruled that movie ratings are a form of free speech. He gave Forsyth an opportunity to amend legal arguments, but the likelihood of success "appears remote."
The MPAA said it is pleased with the court's decision.
Alex Hider is a writer for the E.W. Scripps National Desk. Follow him on Twitter @alexhider.


To see spectators resolute in their aim to cheer on the runners is uplifting.
To see the survivors, many who were horribly injured, walking boldly with a smile on their faces is truly remarkable.
The Boston Marathon used to be just a long run.
Now it's an iconic reminder of the resilience of the human spirit and that acts designed to fill us with terror only make us more determined to live with joy and freedom.
God bless the city of Boston and thank you for inspiring the rest of the world.
Next post – A Mighty Warrior or the Least of the Least?


Several years ago, I had the pleasure of hearing Jeff Hoffman speak. He talked about how he came up with the idea for Priceline. It came about in two ways.
He began questioning everything, no matter how mundane. He got that idea from his 5-year old granddaughter.
He began reading and collecting articles and things he found interesting and posting then on a wall along with sticky notes.
Jeff soon took all those articles and sticky notes and started organizing them. As he was doing that, he saw patterns. Soon those patterns allowed him to see an opportunity… the opportunity was around excess capacity in the travel space.
The way he had arranged the information was a mind map. Mind maps are a way to organize information in a visual way. They show relationships and they tend to be a combination of words, colors, and pictures. Mind maps are a great way to see how things may fit… as well as where there may be a gap.
Research shows that mind mapping allows us to be more creative, innovate, and problem solve more effectively.
Most of us identify with being either left- or right-brained. The truth is that we are both. Right-brain is known for creativity and arts and left-brain is known for logic, numbers, and words. As a writer (a creative), you have to have imagination to come up with the story, but also have logic to put it down on paper in some sort of structure. We think and act with both sides. Mind mapping allows us to do that.
That is what Jeff did. He started reading and organizing… that led to him seeing patterns… and that led to a large business.