text:
Working in the United States
CW-1: CNMI-Only Transitional Worker
E-1 Treaty Traders
E-2 CNMI Investor
E-2 Treaty Investors
E-3 Certain Specialty Occupation Professionals from Australia
H-1B Specialty Occupations and Fashion Models
H-2A Agricultural Workers
H-2B Non-Agricultural Workers
H-3 Nonimmigrant Trainee
I Representatives of Foreign Media
L-1A Intracompany Transferee Executive or Manager
L-1B Intracompany Transferee Specialized Knowledge
O-1 Individuals with Extraordinary Ability or Achievement
O Nonimmigrant Classifications: Question and Answers
P-1A Internationally Recognized Athlete
P-1B Member of Internationally Recognized Entertainment Group
P-2 Performer or Group Performing under Reciprocal Exchange Program
P-3 Artist or Entertainer Part of a Culturally Unique Program
Q Cultural Exchange
R-1 Temporary Religious Workers
TN NAFTA Professionals
Permanent Workers
Employment-Based Immigration: First Preference EB-1
Employment-Based Immigration: Second Preference EB-2
Employment-Based Immigration: Third Preference EB-3
Employment-Based Immigration: Fourth Preference EB-4
Special Immigrant Juveniles
Employment-Based Immigration: Fifth Preference EB-5
EB-5 Immigrant Investor Regional Centers
About the EB-5 Visa Classification
EB-5 Immigrant Investor Process
Students and Exchange Visitors
Conrad 30 Waiver Program
Students and Employment
Temporary Visitors for Business
B-1 Temporary Business Visitor
GB Temporary Business Visitor to Guam
WB Temporary Business Visitor under Visa Waiver Program
Employment Authorization
Report Labor Abuses
Petition Process Overview
Q: When can a U.S. agent file as a petitioner for an O beneficiary?
A: The regulations allow agents to be petitioners in the following scenarios:
A U.S. agent can file for traditionally self-employed workers, or workers who use agents to arrange short-term employment with numerous employers
A foreign employer who authorizes an agent to act on his/her behalf
A U. S. agent may be:
The actual employer of the beneficiary
The representative of both the employer and the beneficiary
A person or entity authorized by the employer(s) to act in place of the employer(s) as its agent
Q: What evidence is required with a petition filed by a U.S. agent?
A: A petition filed by an agent is subject to additional evidentiary requirements listed under 8 CFR 214.2(o)(2)(iv)(E). The evidence required depends on whether the agent is filing as an agent performing the function of an employer; as a person or company in business as an agent and filing for multiple employers; or as an agent for a foreign employer.
Q: How does an agent establish to USCIS that it is an agent performing the function of an employer?
A: When an agent performing the function of an employer petitions for the beneficiary, the petition must include the contractual agreement between the agent and the beneficiary which specifies the wage offered and other terms and conditions of employment. This can be a summary of the terms of the oral agreement or a written contract.
USCIS relies on the contractual agreement that must be provided with the petition to determine whether the agent is functioning as the employer of the beneficiary. The contractual agreement should establish the type of working relationship between the agent and beneficiary and should lay out how the beneficiary will be paid. In totality, if the terms and conditions of employment show a level of control over the beneficiary's work being relinquished to the agent, then the agent may establish that it is performing the function of an employer. This determination will be on a case by case basis and will be based on the contractual agreement, whether written or oral.
Q: What evidence is required to satisfy the "wage offered" requirement when an U.S. agent files as an agent performing the function of an employer?
A: The petition must be submitted with evidence regarding the wage offered. However, the regulations do not contain a prevailing wage requirement. Furthermore, no particular wage structure is required. A detailed description of the wage offered or fee structure and that the wage offered/ fee structure was agreed upon may satisfy this requirement.
Q: When an agent performing the function of an employer files a petition, are contracts required with the employers where the beneficiary will be employed?
A. No, in the case of an O petition filed by an agent performing the function of an employer, a contract is not required between the beneficiary and the entities that will ultimately use the beneficiary's services.
Q: What is the itinerary requirement for agents performing the function of an employer?
A: A petition that requires the alien to work in more than one location must include an itinerary with the dates and locations of work. There are no exceptions to the itinerary requirement when the petition is filed by an agent performing the function of an employer. However, USCIS does give some flexibility to how detailed the itinerary must be and does take into account industry standards when determining whether the itinerary requirement has been met. As such, the itinerary should at a minimum indicate what type of work the beneficiary will be engaged, where, and when this work will take place.
Q: When an U.S. agent represents the beneficiary and multiple employers, are contracts required with the employers where the beneficiary will be employed?
A: Yes, a contract between the employer and the beneficiary is required to be submitted with an O petition filed by an agent. The contract between the beneficiary and the importing employer provides USCIS with evidence that an actual position exists and the O worker is coming to the United States to fill that position. An O worker cannot "self-petition."
USCIS will accept either a written or an oral contract. The contract must demonstrate what was offered by the employer and what was accepted by the employee. If an oral contract was entered into, the document evidencing the oral contract does not have to be signed by both parties to establish that there is an oral agreement. However, it must document the terms of the employment offered and that the beneficiary has agreed to the offer. Such evidence may include but is not limited to:
Emails between the contractual parties
A written summation of the terms of the agreement
Any other evidence which demonstrates that an oral agreement was created
The regulations require that when the agent represents the beneficiary and employer(s), the petition must be accompanied by a complete itinerary of the events or activities. The itinerary must specify the dates of each service or engagement, the names and addresses of the actual employers and the names and addresses of the establishments, venues, or locations where the services will be performed.
Q: Can the U. S. agent be the actual employer of the beneficiary?
A: Yes, a U.S. agent can be the actual employer. When an agent petitions for the beneficiary as the employer the petition must include the contractual agreement between the agent and the beneficiary which specifies the wage offered and other terms and conditions of employment. This can be a summary of the terms of the oral agreement or a written contract.
Q: Can a U.S. agent who is the employer/petitioner for the beneficiary, also serve as an agent for other (multiple) employers?
A: Yes, a U.S. agent may be the actual employer and may file a petition on behalf of the beneficiary as his or her agent and on behalf of other employers of the beneficiary. In this scenario, the agent is required by regulations to provide:
The contract between the petitioner (agent) and the beneficiary
A complete itinerary that lists specific dates of each service or engagement
The names and addresses of the establishments, venues, or locations where the services will be performed
Contracts between the beneficiary and the employer(s)
The contracts that must be provided to USCIS can either be a summary of the oral agreement or a copy of the written contract. In addition, the petitioner must provide evidence establishing that the petitioner is authorized to act as an agent for the other employers. This may be satisfied with a document signed by the beneficiary's other employer(s), which states the agent is authorized to act as their agent for the limited purpose of filing the petition. If the petitioner does not establish that the petitioner is authorized to act as an agent for the other employers, the petition may only be approved for the petitioner's event.
Q. Can additional performances or engagements be added to a petition?
A. Yes, a petitioner may add additional performances or engagements for an O-1 artist or entertainer during the validity period of the petition without filing an amended petition.
In cases where there have been any material changes in the terms and conditions of the employment or the beneficiary's eligibility, as specified in the original I-129, an amended I-129 petition must be filed.
Q. Can partially or fully self-incorporated persons petition for themselves in the O classification?
A. The regulations require that an O petition be filed by a U.S. employer, a U.S. agent, or a foreign employer through a U.S. agent. The regulations also state that O-1 aliens may not petition for themselves. The Immigration and Nationality Act requires that an O petition be filed by an importing employer. Documentation of ownership and control of the business may be requested in this circumstance to verify that the petitioning entity is a bona fide employer in the United States, that the petition is not based on speculative employment, and that the terms and conditions of actual employment qualify for O classification.
Q. Can a foreign employer be a corporation owned by the beneficiary?
A. Yes, but the petition must be filed by a U.S. agent. A foreign employer may be a corporation owned wholly or in part by the beneficiary, but the foreign employer must utilize a U.S. agent to file the petition. A U.S. agent petitioning on behalf of a foreign employer must be authorized to file the petition, and to accept services of process in the United States in proceedings under section 274A of the Act, on behalf of the foreign employer. The petition cannot be based on speculative employment and the terms and condition of the actual employment must qualify for O classification. USCIS may request information regarding the foreign employer and documentation to establish that there is work in place for the beneficiary in the United States.
A foreign employer who, through a U.S. agent, files a petition for an O nonimmigrant alien is responsible for complying with all of the employer sanctions provisions of section 274A of the Act and 8 CFR part 274a.
O-1 Visa Links
O-1 Visa Home


text:
Movie Mag >Movies > Hollywood
Movie Mag Search: Movies > Hollywood
Receive the "Hollywood" Newsletter by email
Penny Dreadful Spin-Off Rounds Out Cast With Six New Stars
21 days ago - By Coming Soon
As was the case with the original series, the upcoming Penny Dreadful spin-off, City of Angels , has continued to expand its all-star roster with the additions of six new stars including Criminal Minds ' Adam Rodriguez, Avengers: Age of Ultron 's Thomas Kretschmann, Once Upon a Time in Hollywood 's Lorenza Izzo, Mad Men 's Michael Gladis, Shadowhunters ' Dominic Sherwood and Star Trek: Discovery 's Ethan Peck.
RELATED: Penny Dreadful Spinoff Enlists Amy Madigan, Brent Spiner & Lin Shaye
The new stars join a cast that includes the...
'Penny Dreadful' Spinoff Adds Michael Gladis as Series Regular, Lorenza Izzo as 'Angel of Holy Death'
21 days ago - By The Wrap
Showtime has added Michael Gladis to the cast of the "Penny Dreadful: City of Angels" spinoff as series regular Councilman Charlton Townsend. Lorenza Izzo was also cast for the recurring role of Angel of Holy Death.
They are joined by four other new cast members in recurring roles - Adam Rodriguez , Thomas Kretschmann and Dominic Sherwood and Ethan Peck will all appear in multiple episodes.
Natalie Dormer was previously announced as a star in the series along with Daniel Zovatto, Kerry Bishé, Adriana Barraza, Rory Kinnear, Jessica Garza, Johnathan Nieves and Nathan Lane. Other recurring...
'Penny Dreadful: City Of Angels': Michael Gladis, Lorenza Izzo Among 6 Cast In Showtime Sequel Series
21 days ago - By Deadline
Michael Gladis is set as a series regular opposite Daniel Zovatto and Natalie Dormer in Showtime's upcoming series Penny Dreadful: City of Angels, a follow-up to Penny Dreadful from the original series' creator, writer and executive producer John Logan. Additionally, Lorenza Izzo has been tapped for the pivotal recurring role of Santa...
Hollywood Series Serie TV Penny Dreadful City of Angels Showtime Tv news TV Premiere News Lorenza izzo Penny dreadful City of angels Showtime Breaking News Casting Lorenza Izzo Michael Gladis
Taika Waititi and Warner Bros.' live-action Akira movie has been put back on hold while Waititi turns his attention to directing Thor 4 next. WB has spent well over a decade...
MCU: 10 Best Costumes In The Movies, Ranked | ScreenRant
The MCU has given audiences a collection of classic Marvel characters in their silver screen adaptations. With ten years and over twenty movies under their belt, each of their...
Kevin Smith Reveals 'Bluntman v Chronic' Poster from 'Jay and Silent Bob Reboot'
San Diego Comic-Con is nearly upon us, and Kevin Smith is preparing to debut the first trailer and a sneak peek from his forthcoming movie Jay and Silent Bob Reboot. The movie...
Mighty Morphin Power Rangers and Teenage Mutant Ninja Turtles Are Getting a...
The Teenage Mutant Ninja Turtles have had an endless array of comic book crossovers throughout their long history. They've met up with Archie, ALF, and Garfield, and more...
Five questions we need answered after watching Stranger Things season 3
Stranger Things expanded its world quite a bit in season 3, but the hit Netflix series still left audiences with plenty of questions about what the future holds for the show...
Jon Favreau and Cast on Re-Imagining The Lion King
BEGIN SLIDESHOW Jon Favreau and Cast on Re-Imagining The Lion King Can't wait to see The Lion King? Read what the film's director and the ensemble had to say about being a part...

redpajama_set_name: RedPajamaCommonCrawl


Narrator: After they had been walking for about three hours, Frodo, Pippin, and Sam made camp in the deep resin-scented darkness of a patch of fir-wood. Night passed and the morning came, pale and clammy.
Frodo: Walking for pleasure! Oh, why didn't I go by cart with Merry? My neck's stiff and I feel as though I've a hole in my back. And all my beautiful feather beds sold to the Sackville-Bagginses. These tree-roots would do them good. Wake up, hobbits! It's a beautiful morning.
Pippin: What's beautiful about it? Sam! Get breakfast ready for half-past nine! Have you got the bath-water hot?
Sam: No, no, sir, I haven't!
Frodo: It's all right, Sam!
Frodo: Mr. Pippin is pulling your leg. Come on, Pippin, up you get! You can help Sam get breakfast, and then we really must get started.
Sam: I've never been this near the end of the Shire before, Mr. Peregrin. What river is that down there?
Pippin: That's the Brandywine, Sam.
Sam: And do Elves live in those woods, over there?
Pippin: In Woody End? No, not that I ever heard. Oh, this road goes on forever! When are we going to rest, Frodo? Frodo?
Pippin: That sounds like a bit of old Bilbo's rhyming. Or is it one of your imitations?
Frodo: Hm? I don't know. It came to me then, as if - as if I was making it up; but I may have heard it long ago.
Pippin: In any event, it doesn't sound altogether encouraging.
Frodo: No, I suppose not.
Frodo: Bilbo often used to say there was only one Road: that it was like a great river: its springs were at every doorstep, and every path was its tributary. "It's a dangerous business, going out of your door," he used to say. "You step into a Road, and if you don't keep your feet, there is no knowing where you might be swept of to."
Pippin: ...this Road won't sweep me anywhere for an hour at least. It's time for a rest, and if you fellows won't wait, well, then you must go on without me.
Sam: Oh, begging your pardon, Mr. Frodo! I can hear a - a pony or a horse coming along the road behind.
Frodo: I wonder if that's Gandalf coming after us. It may not matter much, but I would rather not be seen on the road - by anyone. I am sick of my doings being noticed and discussed. And if it is Gandalf, we can give him a little surprise, to pay him out for being so late. Let's get out of sight!
Rider: The Ring! The Ring! Put on the Ring!
[Gandalf's voice is again heard.
Sam: What did you see, Mr. Frodo?
Frodo: It was a man - I think. Wrapped in a black cloak and hood so that his face was shadowed and invisible. All I could see what his boots in the high stirrups.
Sam: What was he looking for?
Frodo: I - I can't say why, but I feel certain he was looking for, or smelling for me. Yes, and I feel certain that I did not want him to discover me. I have never seen or felt anything like it in the Shire before.
Pippin: But what has one of the Big People got to do with us? And what is he doing in this part of the world?
Frodo: I don't know. But I wish I had waited for Gandalf! But then, perhaps it would only have made matters worse.
Pippin: Then you know or guess something about this Rider?
Frodo: Hm? I don't know and I - I would rather not guess.
Pippin: All right, cousin Frodo! You can keep your secret for the present if you want to be mysterious. In the meanwhile, what are we to do?
Frodo: I think we will move on, now. We ought to do a good step more today. Buckland is still many miles away. But we must keep off the Road, in case that Rider comes back. Yes, I'm going to cut straight across country from here.
Pippin: Short cuts make long delays. The country's rough round here, and there are bogs and all kinds of difficulties. And if you're worrying about meeting that Rider, then I can't see that it would be any worse meeting him on a road than in a wood or a field.
Frodo: Pippin, it is less easy to find people in the woods and fields. And if you're supposed to be on the road, there is some chance that you will be looked for on the road and not off it.
Pippin: All right! I'll follow you into every bog and ditch. But it is hard! I had counted on passing the Golden Perch at Stock before sundown.
Pippin: The best beer in the Eastfarthing of the Shire, or used to be.
Frodo: That settles it! Short cuts make delays, but inns make longer ones. At all costs we must keep away from the Golden Perch. Eh, what do you say, Sam?
Sam: Well, I - I should go along with you, Mr. Frodo.
Pippin: What do you think that was? If it was a bird, it was one I never heard in the Shire before.
Frodo: It was not bird or beast. It was a call, or... or a signal. There were words in that cry, though I could not catch them. But no hobbit has such a voice. Come! Sooner or later, we must go on. It's better that we go sooner!


text:
Public Structure StructureType

End Structure

redpajama_set_name: RedPajamaGithub


The Inspection Programs module is where source MRM/MPD task data and associated instruction cards (JIC, MTC, Work Card, etc.) are managed within RAAS. Using this source data RAAS users can develop inspection programs specific to the operating conditions experienced within their fleet and can dynamically customize programs as needs require.
Maintain all inspection document revision control from a central repository.
Develop and manage multiple parallel inspection programs per aircraft type.
Define signature requirements at the task-step level, including multiple signature for RII/Independent confirmation steps.
Generate audit reports confirming correct and complete compliance within your inspection program.
Automatically generate inspection sheets for higher-frequency inspections, allowing you to do away with custom company forms for the same purpose.
Model heavy check visit packages in a pre-production environment for resource, tool, access and part planning.
Accumulate history for routine to non-routine rectification task relationships.


The Village Hall Committee would like to give a huge thank you to Duncan and his team at Clearview for cleaning the Hall recently. They cleaned the Hall from top to bottom, inside and out, doing a fantastic job and the Committee are very grateful for their giving of their time and effort.
Duncan had offered to clean the Hall at no cost as a means of giving something back to his local community – a very generous gesture which the Committee feels deserves recognition.
It's heartwarming to read about kind gestures like this. Well done, Duncan and his team!


From a conversation with Ahna and Lydia. The last panel was drawn by Ahna.
Care to see how it was drawn??
likin' the nostril flare in panel two.
My mom loves getting mail.
speshul thank you for matt!
get to know art's favorite word!
she could pass for link.
the time! who's got the time!


text:
InsightEdge Portfolio
Smart Cache
Smart ODS
Smart Augmented Transactions
GigaSpaces Cloud
Operational BI
Mainframe & AS/400 Modernization
In Memory Data Grid
Transactional and Analytical Processing (HTAP)
Hybrid Cloud Data Fabric
Multi-Tiered Storage
Kubernetes Deployment
Streaming Analytics for Stateful Apps
About GigaSpaces
Solution Briefs & Whitepapers
YeSQL: An Overview of the Various Query Semantics in the Post Only-SQL World
Nati Shalom July 15, 2010
The NoSQL movement faults the SQL query language as the source of many of the scalability issues that we face today with traditional database approach.
I think that the main reason so many people have come to see SQL as the source of all evil is the fact that, traditionally, the query language was burned into the database implementation. So by saying NoSQL you basically say "No" to the traditional non-scalable RDBMS implementations.
This view has brought on a flood of alternative query languages, each aiming to solve a different aspect that is missing in the traditional SQL query approach, such as a document model, or that provides a simpler approach, such as Key/Value query.
Most of the people I speak with seem fairly confused on this subject, and tend to use query semantics and architecture interchangeably. So I thought that a good start would be to provide a quick overview of what each query term stands for in the context of the NoSQL world. Then, I'll try to break some common misconceptions — which led me to come up with the YeSQL term.
Common Query Semantics in the Post Only-SQL world
The following are some of the common query semantics in the NoSQL world. For those that are interested in code examples i've linked each category with the relevant GigaSpaces reference API.
Key/Value query: Key/Value query, as the name suggests, is probably the most basic form of query. Each data item is associated with a unique identifier (key). In the NoSQL world, memcache is one of the most common implementations of such an interface. A common pattern to perform complex queries with memcache is to defer them to an underlying database which is used as a search engine. The result of these queries is a key or set of keys that is then used to perform subsequent fetching of the values through the memcache data store. The reason they gained new momentum in the post-SQL world is because they lend themselves fairly natively to the concept of partitioning and distribution, which is a key piece in making a data store scalable. In other words, people were willing to trade the rich query functionality provided by most traditional RDBMS for scalability with only basic query support if that was their only choice.
Document-based query: The roots of this model are in the search engine world, where it is very common to store different types of documents, even if each one represents a completely different object. In the NoSQL world, a document is not the typical Word or PowerPoint that you would see in search engine, but rather objects in the form of Jason or XML, or binary objects associated with a set of key/values, as in the case of Cassandra. In SQL terms, a document can be seen as a blob that is associated with a set of keys, each indexed independently and maintaining a reference to this blob. Each blob can be a different type (tables), each blob can have different set of associated indexes (keys). Matching is done through the associated indexes. The result-set often includes multiple types, each containing a different set of data. Because the indexes and the blob don't need to conform to a strict structure of rows and tables, it is referred to as "schemaless" — i.e., it can have different versions of the same type, and add fields to new types without having to modify any table or update older version of the data. Examples that support the document model are CouchDB and MongoDB.
Template query: Template queries were common in JavaSpaces and even in later versions of Hibernate. With template-based matching, you can fetch an object based on class type or inheritance hierarchy, as well as values of the attributes of that object. In more object-oriented versions of template matching you can also perform matching based on specific items within a graph attribute. GigaSpaces is one of the better-known implementations that support the JavaSpaces template query model.
Map/Reduce: Map/Reduce is often used to perform aggregated queries on a distributed data store. A simple scenario would be Max, or Sum. In such scenario the query request need to be executed independently in each partition (Map) and then aggregated back to the client (Reduce). An implicit Map/Reduce can take a certain query request and spread the execution of that query implicitly. The client gets the aggregated query as if it was a single query. The explicit model allows you to execute code in free-form, where you can control the mapping model — which call goes to which data, the code to run in each node (aka tasks), and the results. In a typical Hadoop implementation, Map/Reduce is often done through the explicit model. Frameworks like Hive and Pig provide an abstraction model that can handle that process implicitly.
SQL query: If you think about it, SQL is yet another form of dynamic language that was specifically designed for complex data management. With SQL, data is often ordered in tables and rows. Some of the query semantics in SQL, such as Joins, distributed transactions, and others are known to be anti-pattern for scalability. It is mostly this aspect of SQL semantics that associates SQL with scalability limitation. Examples of NoSQL implementations that support SQL are Google Bigtable using JPA, Hive/Hadoop, MongoDB and GigaSpaces. I will discuss in further details below what that actually means.
YeSQL — There's Nothing Wrong with SQL!
Now that we've covered some of the concepts behind query formats, it becomes more apparent that there is nothing really wrong with SQL. Like many languages, SQL gives you a fairly long rope with which to hang yourself if you choose to, but that is true of almost any language. If you design your data model to fit into a distributed model, you may find that SQL can be a fairly useful format to manage your data. A good example is Hive/Pig/Hbase and Google JPA /Bigtable. In both cases the underlying data store is based on a scalable Key/Value store, but the front-end query language happens to be SQL-based. MongoDB aims toward a similar goal with the main difference that it provides SQL-like support and doesn't fully comply with any of the existing standards.
Its About the Architecture, Stupid!
NoSQL implementations such as Hive/HBase as well as JPA/Bigtable can be a good example of how next-generation databases can support both linear scaling and a SQL API.
The key is the decoupling of the query semantics from the underlying data-store as illustrated in the diagram below:
Supporting a SQL API on top of a NoSQL data store in Google Bigtable
Convergence is Underway
Last week I spent some time at the Hadoop summit. Hadoop created a fairly generic substrate that led to an innovative ecosystem behind it. There are already many new frameworks today that provide different levels of abstraction to the way Hadoop manages data in both query and processing, such as Hive, Cascading, and Pig. Many of them provide tools that the original creator of Hadoop never even thought of.
Which brings me to the point that we can apply the same decoupling pattern that I mentioned above to support a document model in connection with SQL. In other words, I believe that going forward, most of the leading databases will support all of the semantics listed above, and we won't have to choose a database implementation just because it support a certain query language.
We've already seen a similar trend with dynamic languages. In the past, a language had to come with a full stack of tools, compiler, libraries, and development tools behind it, making the selection of a particular language quite strategic. Today, a JVM in Java or a CLR in .Net provides a common substrate that can support a large variety of dynamic languages on top of the same JVM runtime. Good examples are Groovy and Java or Jruby.
As I pointed out throughout this post, SQL is actually a fairly good query language and will continue to serve a major role in the post only-SQL world. However, the concept of one size fits all doesn't hold up. The data management world is going to be built from a variety of tools and data management languages, each serving a particular purpose. Ideally, we should be able to access any data using any of several query languages, regardless of how it was stored. For example, I should be able store a Jason object using a document model and then, at any time, query that Jason object using SQL query semantics or a simple Key/Value API.
Nati Shalom
Operationalizing Real-Time Machine Learning –…
Scaling Out MySQL
Thoughts on CommunityOne and EC2
PRODUCTS, SOLUTIONS & ROLES
Compare InsightEdge Products
HTAP
Mainframe Offload with Groupe PSA
Digital Transformation with Avanza Bank
High Peak Handling with PriceRunner
Optimizing Business Communications with Avaya
Try GigaSpaces For Free
Copyright © GigaSpaces 2021 All rights reserved | Privacy Policy


text:
Student hit by SUV learning to use walker
Allison Ross
@allisonSross
The Engelhard Elementary student who was one of three young children struck Thursday by an SUV swerving around a school bus is learning how to use a walker and navigate in a wheelchair, according to his family.
Phillip P. Neal III is a third-grader, attending his first year at Engelhard Elementary. On Thursday morning, he and some other Jefferson County Public Schools students were preparing to board school bus No. 1141 when a Cadillac Escalade swerved around the stopped bus, flipping in the air and hitting Phillip and two other children.
Phillip, 8, was rushed to the hospital – his ambulance given a clear route as police blocked off side roads to allow the three injured children quick passage.
Phillip sustained a broken left femur, a bruised lung and pancreas and a concussion, his family told the Courier-Journal through an intermediary.
His family said that much of the swelling in his head has gone down now. Doctors put a rod into his leg, which will have to stay eight months to a year, the family said.
Phillip is having to do physical therapy twice a week, his family said.
According to a Go Fund Me page set up to raise donations for Phillip and his family, the boy's sister was waiting at the bus stop with him when he was struck.
The other two students who were injured in the crash were both students at Dixie Elementary. School bus No. 1141 travels to both those schools on its route.
According to a Louisville Metro Police spokesman, the Cadillac's driver said he did not realize that the JCPS bus – which was reportedly at its usual bus stop and was in the middle of Dumesnil Street with its yellow warning lights flashing and stop sign extended – was stopped. The driver swerved to the right of the bus, hitting the side of the road and striking the children on the sidewalk, police said.
On Thursday, police said the driver of the SUV will be charged for not having proof of insurance or vehicle registration, but additional charges could be possible.
Reporter Allison Ross can be reached at (502) 582-4241. Follow the Courier-Journal's education team at Facebook.com/SchooledCJ.
MORE FROM JCPS
►Check out Tuesday night's board meeting agenda highlights
►JCPS kids use their noodle and stay active
►Video shows local teachers thanking students for inspiring them


A Dutch dredging and offshore contractor has made a contract with Hycom for a drive-and-control system for a monopile gripper frame to be mounted on the Svanen vessel.
The monopile gripper frame will be used to vertically place piles with a diameter of maximum 11 mtr on the ocean floor. The monopiles make up the foundation of several windmills.
Hycom also installed the piping between the HPU, manifolds, cylinders and drives.
Time is of the essence was clearly stated by the customer from day one. We teamed up with the engineering company TWD, Breman Machinery and needless to say the end user. The piping, in total around 2500 metres, was mounted on site in IJmuiden within 2 weeks time.
Although the complete schedule from engineering to delivery was tight we succeeded in supplying on time.


TASK: Research the marketing of one contemporary (last 10 year) film, and present your findings. You are aiming to show the wide range of ways in which a film is marketed and promoted, and will move on to create a cross-media marketing campaign yourself.
This includes: trailers (including teasers: YouTube ads, TV spots, cinema ads, via social media, exclusives at fan conventions); appearances by stars/director (TV chat shows, fan conventions); film premiere (the red carpet); posters/billboards (in magazines, cinemas, sides of buses, telephone booths...); social media (Facebook, Twitter, Instagram especially); website (can include games, competitions, downloadable content, blog, behind-the-scenes production videos...); OST CD + music videos; tie-ins (where a company creates a promotion based around the movie, eg McDonalds' toys) and even product launches (LG launched a new mobile phone linked to the release of Avatar); DVD/Blu-Ray editions; video game ... You could also consider UGC (user-generated content) or fan-made videos and other content - not created by the film companies but mostly welcomed by them as helping to promote the film and make it better known (viral media).
Posters search: there are lots of distinctive posters!
Red carpet search: lots of publicity from the premieres!
Multiple editions: collector's, special, director's cut ... there's even a 6-disc 3D boxset, that got this fan very excited!
As you'd expect, there were many tie-ins.
Merchandise raises money and promotes the film!


text:
Home :: Press & Publications
Paull, Laura. 2020. "Jewish artists contribute to East Bay in-person art show." J. The Jewish News of Northern California. September 14. Click here to read online.
Paull, Laura. 2020. "East Bay Art Show Features the Art of Resilience." J. The Jewish News of Northern California.
Art Up: "Thriving at Place" @ Abrams Claghorn Gallery. Berkeley Times. (September 10): 13.
Kushner, Eve. 2019. "Berkeley honors arts ambassador Susan Felix with lifetime achievement award." Berkeleyside. July 23. Click here to read online.
Kushner, Eve. 2018. "Susan Felix is Berkeley's Ambassador to the Arts." Berkeleyside. March 20. Click here to read online.
Gloster, Rob. 2017. "How the Summer of Love Changed American Judaism in the Bay Area and Beyond." J. The Jewish News of Northern California. June 29. Click here to read online.
Paull, Laura. 2017. "From Political to Whimsical, a Half-century Career in Ceramic Art." J. The Jewish News of Northern California. June 21. Click here to read online.
"Stay Amazed Party." 2017. Oakland Magazine. July.
"Stay Amazed." 2017. SF Gate. July.
London, Barbara. 2017. "Stay Amazed:" Susan Duhan Felix. Berkeley Times. June.
"Stayed Amazed: Susan Duhan Felix." 2017. Berkeley Times. May 25.
Kerr, R. Todd. 2016. "Dance Anywhere! 2016." Berkeley Times. March.
Gendler, J. Ruth. 2015. "Berkeley Art Ambassador's Love of Poems Spawns a Book." Berkeleyside. January 6. Click here to read online.
Silvers, Emma. 2013. "Grooving at Ashkenaz." J. The Jewish News of Northern California. August 15. Click here to read online.
"Closing reception for Susan Felix Exhibit." 2013. The Reutlinger Community. January 27. Click here to read online.
Straus, Tamara. 2010. "Web Portal Promotes East Bay Arts, Culture." San Francisco Chronicle. February 24. Click here to read online.
Eisenhart, Mary. 2009. "Don't Miss: 'Jewish Environmental Artists.'" San Francisco Chronicle. December 24. Click here to read online.
Hafalia, Liz. 2009. Jewish Museum Feature. San Francisco Chronicle. July 4.
Hu, Janny. 2009. "Mixer with Manischewitz. The San Francisco Chronicle. July 4.
Rufus, Anneli. 2009. "Healing the Cracks." East Bay Express 31, issue 37 (June 24-30). Click here to read online.
Rufus, Anneli. 2009. "Loving the Cracks." Scavenging. June 17. Click here to read online.
Berns, Suzan. 2007. "Faces." J. The Jewish News of Northern California. November 30. Click here to read online.
"HUC-JIR New York Museum Features Susan Dehan Felix Exhibit; Now through January 25, 2008." 2007. Hebrew Union College - Jewish Institute of Religion. July 2. Click here to read online.
"Po' Jazz." 2007. Cornelia Street Café, New York. June 21.
"The Poetry of Romance." 2006. Monticello Inn Library, San Francisco. May 24.
Bryant, Dorothy. 2005. "Mending Shards, Mending Life: Susan Duhan Felix Exhibit Opens at Badé Museum." The Berkeley Daily Planet. July 22-25. Click here to read online.
Wall, Alix. 2005. "Berkeley Artist Explores Life's Mysteries in Ceramics." J. The Jewish News of Northern California. July 15. Click here to read online.
"Susan Felix: Berkeley's First 'Art Ambassador.'" 2004. ACGA News.
Ghent, Janet Silver. 2002. "Record Number of Judaica Artists from Israel, U.S. Coming to Palo Alto." J. The Jewish News of Northern California. September 27. Click here to read online.
"Classy Glass: The S.F. Clay & Glass Festival Debuts at the Fort Mason Center." 2000. San Francisco Examiner Magazine. (November 5): 19.
Kruger, Laura and Jean Bloch Rosensaft, eds. 2000. Living in the Moment: Contemporary Artists Celebrate Jewish Time: 125th Anniversary Celebration. New York: HUC-Jewish Institute of Religion.
Gutfreund, Zevi. 1999. "Artist Creates Meaningful 'Gifts from the Pit.'" The Northern California Jewish Bulletin. July 9.
Certificate of Special Congressional Recognition. 1999. Congress of the United States. June 20.
"Susan Felix Day." 1999. City of Berkeley Proclamation. June 20.
"Honoring Susan Felix." 1999. Hills Newspapers. June 10.
"Ashkenaz Hosts Event Honoring Artist, Developer Felix." 1999. Berkeley Daily Planet: 3.
"In Art Timeless is Contemporary." 1999. The B'nai B'rith International Jewish Monthly.
Morton, Kathryn. 1999. Judaic Artisans Today: Contemporary Judaica in the United States and Those Who Created It. Gaithersburg, MD: Flower Valley Press.
"Festival of Jewish Artists Returns to L.A." 1998. Art Business News. (November): 26.
Gorry, Conner. 1997. "A Festival of Lights: Menorahs to Complement any Taste or Décor." San Francisco Chronicle. December 10. Click here to read online.
"Behold the Imagination of Brave New Menorahs." 1997. In Sync. December.
"Susan Felix: Menorah." 1997. Art Week 8, no. 36. (October 29).
"Artist Exploring New Judaica." 1997. Forward. (January 24): 8.
"Art Speaks to Pain." 1994. The Oakland Tribune. July 24.
Harper, Will. 1994. "Model Project or Local Troublemaker?" Berkeley Voice.
Johnson, Robert E. 1994. "Thank You Ms. Felix: 'Whoever Saves One Life It's as if They Saved the Entire World.'" The U.A. Homes Phoenix 1, no. 5: 1-2.
Sommer, Mark. 1993. "Housing Activist Susan Felix is Changing Berkeley – One Building at a Time." Cityside. (June 11): 3.
Gilbert, Kelly. 1993. "Sculptor Molds Future for Homeless." The Review 119, no. 54 (April 30): A8. Click here to read online.
Neunsinger, Anne. 1993. "City Honors Outstanding Women." Hills Publications. April 8.
Liberatore, Karen. 1992. "Making Room for the Homeless." San Francisco Chronicle. October 7.
Felix, Susan. 1991. "Farewell from Susan." JACOB'S Letter: Newsletter of the Jewish Arts Community of the Bay. (Summer/Fall): 2.
"Susan D. Felix Day." 1989. City of Berkeley Proclamation. March 16.
Kaufman, Tamar. 1988. "ALSJCC is Showing Unusual Seder Plates." The Northern California Jewish Bulletin (March 18): 38.
Hurley, Ann. 1987. "Local Ceramicist's Works of and for Art: Susan Felix Works to Promote Artistic Interests within the Community." The Voice. May 14.
"Local Sculpture." 1986. The Voice. August 27.
Kaufman, Tamar. 1986. "Sculptor Combines Judaism, Art and Ancient Techniques." The Northern California Jewish Bulletin. (July 4): 19.
"Magnes Opens Ceramic Show." 1986. The Northern California Jewish Bulletin. May 30.
"Felix Ceramics at Magnes Museum." 1986. Co-op News. May 26.
"Art from Felix, Schomer on Exhibit." 1984. The Berkeley Voice. September 26.
"Shabbat Celebration Set by Kol Shelanu." 1983. Northern California Jewish Bulletin. November 4.
"Visions of Clay." 1983. The Berkeley Gazette. (October 25): 14.
"Ceramic forms." 1983. The Berkeley Voice. (September 7): 7.
"Co-op activist Felix exhibits ceramics." 1983. Co-op News. September 5.
"Global Gala for May." 1983. Montclarion. April 27.
"Chanukkah Chai-jinks Cabaret." 1982-1983. Center Voice 2, no. 12. (December/January).
"For the Holiday Crafts Sale." 1977. ART: Publication of the Art Guild of the Oakland Museum Association 5, no. 6 (November/December).
Safford, Edwin. 1966. "Class in Ceramics Sees Clay Take on Utility and Beauty." Providence Evening Bulletin. May 11.
Wolff, Peter. 1960. "'The Wormwood Review': Ex-Queens Luminaries Publish Review." Phoenix. January 8.


text:
Three women filmmakers featured at 2017 New York African Film Festival
by Lisa Iannucci
New York City is a hotbed for movie premieres and film festivals and, this week, there's another film festival that deserves some attention.
The 24th annual New York African Film Festival — with the theme of "The People's' Revolution" — begins May 3rd and runs through May 9th at the Film Society of Lincoln Center. The festival will then travel to Lehman College, Maysles Cinema and the Brooklyn Academy of Music's BAMcinématek. Across these venues, the festival will present a total of 25 feature-length films and 36 short films from 25 countries.
The New York African Film Festival has always found talented women from Africa and the Diaspora to showcase and this year is no exception. The 2017 NYAFF includes 25 feature films, three of which (12%) are directed by women filmmakers.
"In Africa, as in most of the developing world, young people are the majority. These vibrant human beings are the engines driving today's societal transformations," said AFF Executive Director and NYAFF Founder Mahen Bonetti in a release. "They believe in traditional African values, African solutions to African problems, and in Africa's right to the bounty of her own resources. In this year's films, we see a generation of young people concerned with reclaiming what is rightfully theirs—their cultural identity, their homes, their dignity."
The three features helmed by women include Guetty Felin's film, Ayiti Mon Amour, which is set in Haiti five years after the 2010 earthquake, and depicts young Orphée's grief over the loss of his father beneath the rubble. There's also the New York premiere of Footprints of Pan-Africanism by Shirikiana Gerima, a documentary about Ghana's emergence into independence. Play the Devil by Maria Govan tells the story about gifted 18-year-old Gregory, his family's only hope for financial success.
In the short film category (11 of which are from female filmmakers), NYSFF will show be the New York premiere of Hairat, a seven-minute short with English subtitles by Jessica Beshir, from Ethiopia. This premiere will take place on Friday, May 5 at 6:30 pm followed by a Q&A with Sewmehon Yismaw, Zekarias Tibebu Mesfin, and Jessica Beshir.
Other shorts include Adam & Howa by Sarra Idris, about a couple's story which becomes a metaphor for the relationship between the Sudanese diaspora who fled the country after political turmoil and those who were left behind. The 10-minute short, Farewell, Meu Amour by Ekwa Msangi, focuses on an immigrant's story about the love that is lost when a man's wife and son finally receive visas to join him in the US.
Additional shorts include My Third Eye by Nova Scott-James, Sketch by Mariama Diallo, Maman(s) by Maimouna Doucoure, Boxing Girl by Iman Djionne, A Place for Myself by Marie-Clementine Dusabejambo, Ududeagu by Akwaeke emezi, Soju by Oluwaseun Babalola, and Accra Power by Sandra Krampelhuber.
Single screening tickets are $14; $11 for students and seniors (62+); and $9 for Film Society members. See more and save with the 3+ film discount package. Visit filmlinc.org for more information. All screenings take place at the Elinor Bunin Munroe Film Center (144 West 65th Street) unless otherwise noted. More information about AFF can be found www.africanfilmny.org.
© Lisa Iannucci (5/1/17) FF2 Media
Featured Image (at top) from Play the Devil by Maria Govan
Middle Photo: Footprints of Pan-Africanism by Shirikiana Gerima
Bottom Photo: Ayiti Mon Amour by Guetty Felin
Photo Credits: New York African Film Festival
Amelie Lasker January 12, 2021
Students of interdisciplinary artist Suzanne Lacy celebrate 'witnesses to the world'
by Lisa Iannucci May 1, 2017


Agraria Lavender Rosemary PetitEssence Diffuser, 1.7 oz.
AgrariaLavender Rosemary PetitEssence Diffuser, 1.7 oz.
A blend of French Lavender and Italian Rosemary enriched with the zest of Bergamot and a few drops of English Amber.


text:
Home Sam Adams | 'I just wanted to write and I've done so whenever I've had the opportunity'
Sam Adams | 'I just wanted to write and I've done so whenever I've had the opportunity'
Published June 16, 2020 by Caroline Sanderson
"I can't remember a time when I didn't want to be a writer. I don't think it's connected with being Welsh. I just wanted to write and I've done so whenever I've had the opportunity."
For more than 50 years, Sam Adams has been a notable fixture in the literary landscape of Wales. He has published three collections of poetry and several studies of fellow English-speaking Welsh writers, as well as editing many other works and contributing numerous articles to magazines such as Anglo-Welsh Review, New Welsh Review and Poetry Wales, which he edited from 1973–75. Since 1996, Adams, now 85, has a...


The Prodelin 1304 Series 3m Satellite Dish is a durable eight piece antenna system of SMC construction optimised for C Band reception. The Prodelin 1304 Series 3m Satellite Dish is supplied with a 2 port OMT with C Band linear polarisation feed assembly.
The Prodelin 1304 Series 3m Satellite Dish is a durable eight piece antenna system of SMC construction optimised for C Band reception. The Prodelin 1304 Series 3m Satellite Dish utilises an azimuth over elevation mount with an elevation adjustment of 5° to 70° (5-90° option available) and an azimuth adjustment of a full 360°. The Prodelin 1304 Series 3m Satellite Dish is supplied with a 2 port OMT with C Band linear polarisation feed assembly. A circular polarisation kit is also available.
The Prodelin 1304 Series 3m Satellite Dish can be supplied with a polar mount and actuator that enables the dish to be motorised and used to receive multiple satellites. The Prodelin 1304 Series 3m Satellite Dish can then controlled with a Research Concepts RC1500 Controller allowing the dish to be motorised between satellite remotely via the optional web browser interface.
Prodelin 1304 Series 3m Satellite Dish has two mounting options available. The first is a simple in ground mount which is a length of pipe 168.3mm OD in diameter concreted in the ground with a plinth poured around the top edge. This type of mount is best suited to installations at ground level where no existing concrete footings have been poured.
The second type of mount available for the 1304 series 3.0m dish is a pedestal type mount. This type of mount is manufactured locally to Prodelin specifications, and consists of a piece of pipe 168.3mm OD in diameter welded to a base plate with gussets added for extra stability and strength. This mount is best suited to building roof tops or locations where an existing concrete mounting pad exists.
We also offer a custom mount service where our local engineer will design a mount to suit a specific building or roof design. These mounts come with a Structural Design Certificate which is commonly required by councils and building management groups.
Prodelin specialises in providing high quality, cost-effective antennas for both the two-way Very Small Aperture Terminal (VSAT) marketplace and receive-only applications. Prodelin Antennas are made from a durable segmented glass fibre reinforced polyester SMC manufacturing process ensuring high accuracy, long life antennas. Prodelin Antennas are especially durable in high wind or corrosive environments due to their unique design.
We have access to a comprehensive freight network and can ship equipment anywhere in the world. For customers based in Australia we typically ship via road freight; all of our dishes are marked top load only to ensure they arrive undamaged. For urgently required dishes we can arrange air freight.


The sand may brush off… The salt may wash clean… The tans may fade… But the memories will last forever!
This is exactly how we feel about Sardinia! Each day just kept getting better and better.
After our incredible evening at the THotel in Cagliari, we could have slept for hours the next morning to recover from the amazing dinner… but instead, we woke up early for breakfast so we could make the most out of our day. We had a big day planned, visiting two more incredible beaches, Spiaggia di Cala Cipolla and Tuerredda.
The beaches in Sardinia are always busy in the summer. The water is crystal clear, most are sandy and you can get plenty of vitaminSEA… So, needless to say, you have to get there nice and early to secure a car park and the prime sun tanning spot.
Cala Cipolla is a tiny bay at the end of a dirt road and a short stroll further over the hill. It's not too hard to find, but there are a number of beaches in the area, so make sure you drive all the way to the end of the road! The walk over the hill appears to continue further along the coastline, but to be honest there is nothing there, head straight to the beach!
Parking was plentiful with the standard €5 cost for the day – you'll soon realise you'll need a lot of 5€ notes in Sardinia!
Despite the overcast weather, Cala Cipolla was well worth the visit! The water was warm and unlike many European beaches, is sandy with waves, proper waves!! Having lived in London for a couple of years, it's funny how quickly you forget how powerful waves can be and a gentle reminder to get our act together for when we move back to Australia!
The experience was described as being thrown into a washing machine, being chucked around and thrown on to the ocean floor! Luckily for her, she was able to save her hat, sunnies, and bikinis!!
Being thewelltravelledman, I should mention I was perfectly fine and quite enjoyed it – even got this cool shot on the GoPro as a wave just passed us and the spray of the water created my own little wave!
Having already had the beach on our list, we knew we had to visit it when the T Hotel restaurant manager specifically recommended it! It was only a 15-minute drive from Spiaggia di Cala Cipolla to Tuerredda. There were two parking lots, one closer to the beach and one just opposite the road, prepare your €5!
The beach wraps around a bend and has plenty of room for everyone. There were no waves and the water was definitely much colder than Cala Cipolla – now when I say much colder – it may only be a couple of degrees but it makes a big difference! Given the lack of waves, this would be the perfect spot for some snorkeling.
There were a number of vendors, towels, bikinis, jewelry and the like was plentiful and prices comparable to the other beaches. There is also a café near the entrance; relatively expensive, so if you can bring your own drinks, then I would definitely suggest that!
This was the highlight of the day! Having not seen flamingos before, we were eager to get a closer look.
These crazy creatures were off the main road with no clear entrance to the lakes – but being on holidays and breaking the typical road rules we couldn't resist pulling off to the side of the road! We noticed a hidden entrance leading towards the dirt tracks surrounding the lakes. Being in a tiny little rental car, we drove slowly, zig-zagging around the track to avoid the potholes and potential damage to the undercarriage, but we nothing was going to stop us from reaching the other side of the lake where the hundreds of flamingos seemed to congregate.
We were close to the flamingos and they seemed very unphased by us – we were gutted we didn't have 200mm camera lens on hand, but glad we had a camera on hand to take plenty of photos!
The place is only around 20 minutes from Cagliari and there were hundreds of flamingos just chilling in the lake! Click here to read an article by Sardatur Holidays on the wildlife in Sardinia!
When we got into Cagliari town, being a Sunday….. everything was closed!! The only positive of having everything closed was that the parking appeared to be free on a Sunday. Some of the retail shops open around 5.30pm which is when the locals head into town and the restaurants open up, but aside from that the town was deserted.
Like most European old towns, you will find a little ally way where there is some pretty cool graffiti. Cagliari was no exception!
We wandered around and took advantage of the very quiet town! There is a lovely viewpoint at Bastione di Saint Remy which is worth checking out. You get panoramic views over the city and you feel like you're on top of the world… well, Sardinia!
By this stage, after not eating lunch we were absolutely starving!! We found a restaurant called Grotta Marcello at Piazza Yenne. We were desperate for a good pasta, so having sat down, looked at the menu and decided on the pasta we were going to order, were told that because of the time of the day (not lunch .. not dinner…) they are only serving pizza!!!! So, we had to quickly change our minds and pick a pizza!
It was honestly the biggest pizza we have had, and we ordered two!! The toppings were plentiful and the flavour was delicious! I can still remember the moment it came out and thinking how on earth will I finish this!! Well, I did finish it.. Jenna not so much, but it managed to fill the hole and certainly didn't need dinner that night!
In one of the short story books the T Hotel gave us, it goes into detail about the seven wonders of Cagliari. You're probably wondering what they are? Well, here is a list for you!
Born in Cagliari in 1976, Nicola Lecca is a passionate traveller who has lived for long periods in England, Spain, Austria, Sweden, Hungary and Iceland. His works include Concerti Senza Orchestra (Marsilio, 1999, shortlisted for the Strega Prize), Hotel Borg (Mondadori 2006) and II Corpo Odiato (Mondadori 2009).
His novels have been published in fifteen European countries by leading publishers. At 27 years of age, he was awarded the Hemingway Prize for literature.
To read about where else we visited in Sardinia, check out our Sardinia: 7 day Italian Love affair!!


Running windows XP on an external hard disk?
Discussion in 'Mac Pro' started by farqueue, Jul 17, 2006.
Hello i own a macbook. I have a 300gb external hard disk. Just wondering how can i use bootcamp etc to install windows on it, without having to interfere with my macbooks HD.
And also running Mac OS X games like call of Duty and WoW from the hard disk. Is it possible?
you post a good question, in it's current state what you ask is impossible to my knowledge since the bootloader that boot camp uses needs a partition on the boot disk. i don't think it's advanced enough to understand external devices.
i do have one thing to say however, WWDC is coming up soon, so we should get more details about the final status of boot camp then.
OSX can boot from firewire external disks, but not USB. so you could move your OSX system onto the external drive and have windows on the local one.
You would be very luck to get windows to boot from an external disk. With out of the box bootcamp it just isn't going to happen. Something like BartPE might worth exploring though.
Yup you can run WinXP from an external disk, USB or FireWire. It's rather quite simple.
Make sure to check your partition ID's as rdisk#s1 might differ from your setup.
Restart your Mac and boot from the Windows CD by holding down the "C" key on startup. Install Windows as usualy on to your external drive. To boot in to Windows after installation hold down CMD+OPTION+SHIFT+DEL @ startup. You can also use a program such as refit as a "bootloader" of sorts which makes it a bit easier to start up in whichever OS you want to use. Just install your Boot Camp drivers from the CD and off you go!
I think I've seen you post before claiming to boot XP off of a Firewire drive. Why are you the only person on the Internet who can do this? USB has been done, but not firewire. What's your secret?
And getting it to work with USB, requires tweaking the INF files on the install CD so that the USB driver stays loaded throughout the boot process.
Your lying! well i wont accuse you but NOONE else has been able to do it. I tried to follow your isntructions and it diddnt work.... What drive are you using; what computer exactly and what version windows?
I may also add that I'm using reFit.
the external firewire on a 7200RPM Western Digital with an 8MB Cache, standard ATA drive vs. the internal 5400 RPM Mac Mini SATA drive.
Forgive me but I don't know that much about the advantage of SATA versus ATA, or how much you might lose through Firewire rather than the direct connection to the board.
I compared read and write speeds of the 2.5inch seagate drive (5400rpm) in my mac mini to the read/write speeds of the 3.5inch 7200 rpm drive in the iMac. Happily, the figures agree with the specs that seagate themselves publish.
When my mini is out of warranty, I'm going to replace the 80GB 5400rpm drive with a 7200RPM 100GB drive. These newer 2.5inch drives are pretty much the same speed as the larger drives, plus, they have the advantage of NCQ (Native Command Queuing) and the SATA 1.5Gb/s transfer rate.
Summary: a like-for-like modern drive (that supports NCQ) will be quicker internally over SATA than plugged via *any* firewire connection.
I'm keen to try a RAID-1 set using SATA and Firewire tho.. my writes will be at the speed of the slowest drive (the firewire), but my reads should fly.


text:
Q: Where to put the word 'still' in the following sentence?
"On the item page, [still] there are [still] two different types of
  models".

Where should I put the word 'still' in this sentence? Intuitively I'll go for the first choice but I'm still not sure about it.

A: "On the item page, still there are two different types of models" is valid, but archaic, so many people would say it was bad grammar.
"On the item page, there are still two different types of models" is more normal in a modern context.

redpajama_set_name: RedPajamaStackExchange


actresses, models, movies, fun & more - it's very!
Your site should have a Google Sitemap to allow Google to index your site fast and complete. Google Webmaster Tools also allow you to evaluate if your site is search-engine friendly and help you to fix possible problems.
Add Keyword Analyzer Tool to your site!
Add Search Engine Ranker to your site!
Add This FREE Submitter To Your Website - Click Here!


text:
Einstein Music Journal - June 26th, 2008The Haunt of Volta - article/interview
Started By flipzoso , Jun 26 2008 03:02 AM
#1 flipzoso
flipzoso
Location:Toronto, Ontario, Canada
http://www.einsteinm...al.co.nz/?p=155
The Haunt of The Volta
Much more exciting legends than the Chainsaw Masscare come out of Texas these days. Experimental art rock prodigies The Mars Volta are just that. They�ve nothing left to prove in New Zealand � they�ve come, played (twice), and conquered. Now they�re back to do it all over again!
On the eve of their third appearance on our shores, I talked to both Omar and Cedric at different intervals about the trials and tribulations they�ve experienced of late that are well-known by now, surrounding the making of their latest album The Bedlam In Goliath. Fortunately the weird psychotic reactions the boys have had now see them nurse what is arguably their most exciting and aptly titled album yet.
The monstrous gargoyle-esque beast that influenced The Bedlam (that is, the infamous cursed Ouija board they�ve spoken so much of in the press that saw them lose a band mate, lose tracks from the album and almost lose guitarist and auteur Omar Rodriguez Lopez�s entire studio), has seen them rise above, and in reconciliation and remembrance, they deliver explicit, telling and downright awesome answers.
Of the now infamous experience, Omar said previously �I�ve had my time with it and I just want to move on.� Looking back now, he says: �I�m not trying to glorify that or keep my interest in it� That was something that happened in my life and it happened almost a year ago now.�
When pressed on whether he thinks humans are prone to glorify or downplay the dramas in their lives � such as the one he endured, Omar is honest. �I think people have very different ways of dealing with trauma, and I think it�s not always up to them, you know? I think people have different reactions to things like that. Some people glorify them, some people play it down, some people become completely internal; I think everyone is individualistic.
�Even with that having been said I think people go through changes, you know, people can dramatise it then internalise it later, or vice versa. For me when I finished this record I didn�t want to talk about it, I didn�t want to play it, I wanted to move on to the next record and I said we cant play these songs while we�re recording the next record, I definitely don�t want to do interviews about it and I don�t want to talk about it. Cos people wont understand, they�ll just laugh at us.
�What people don�t understand, they ridicule, and they want to destroy it.� �So I was very serious at the time and I was wound up in my emotions about it, and the clich�d saying goes � time heals all wounds. And months later, like I said, I found my laughter again, and I became secure with myself and secure with my own beliefs and my own ideas. And when this happens, you really don�t care what people think.
�So I said, you know what? Let�s do this, let�s play this record; I like it now. Let�s not just talk about it, let�s make up something, let�s make up a different scenario of what the record�s about, you know. And then a month after that, I realised no, that�s stupid too, and then I re-re-became comfortable with everything that happened. And I said �you know what? I really don�t care who believes us, who doesn�t, what they say, blahblahblahblahblah��, he mumbles, so quickly it�s barely audible. �So you know, I went through a series of emotions, from being dramatic about it, completely immersed in it to just finding it funny and saying you know, whatever happens let�s just put it out there, and now I�ve moved on.�
The band has a renewed energy that Omar says even the fans have noticed. �It was only one person that was replaced (in the band recently), and it was a night and day difference. It�s brought so much more energy to the band and togetherness and so much more power; it�s something we�re also hearing from the fans. You know, people that have come to see us eight, nine, ten times, they�re surprised that there can be more power, more energy, you know, they�re saying these are the best concerts. A lot of the fans also comment on how happy they are to actually see us so happy, and smiling and enjoying what we�re doing. So (the lineup change) definitely had an impact � it�s been a wonderful one.�
I mention when I spoke to Cedric earlier that he said he�s been unhappy with certain music videos that have been made for the band. Were the webisodes a revolt against all of that unhappiness? �I don�t know, maybe� Maybe it was just a revolt against the whole idea of a fucking music video, you know? I think people take music videos way too seriously, even people who have fun with them, you know what I mean?
�For the amount of money that people normally spend on a music video, I could make about three feature films.� �When we did Francis and we had to make a video, they gave us $500,000 to make the goddamn music video. And I made the video the way they wanted it to be made, the way that most labels want it to be made, with all the professionalism and all the sophistication, blahblahblahblah. And that $500,000 was just shit out the window for just nothing, for a piece of shit theatrical trailer, basically. For an album that�s gonna be run for maybe a month or two, and even if they play it, there�s all this bullshit behind the scenes and all your guidelines�
�I turn in your video and you say oh, �you can�t have blood in it, and there�s a guy smoking a cigarette in the first scene, and you can�t have blahblahblahblah�, but they can have women degraded at any moment, at any hour in the day, they can have women being degraded, they can have champagne poured on them, and being treated like animals, but you can�t show somebody smoking a cigarette, and you can�t show blood, and things that are normal to life. And so there�s all these politics, and there are politics about whether or not they�re going to play it, it�s not about if the band is good, it�s about how much you kiss ass to the executives there, and what have you done for them lately, and did you play their executive party they had lately that they wanted you to play, and have you said something nice about them in an interview.
�The whole thing is geared for such commercialism and such bullshit, and it has nothing to do with what the bands are doing and what the music is about, it�s just based on the levels that, �we want a video, we want one video� and they�ll give you a fraction of the money that they gave us last time, they gave us $50,000. And I said fine, you know what? I�ll give you five videos. And I�ll make them for $10,000 a piece. And that�s what those webisodes were. That�s why I came up with the doctor�s scenario; because it was all about blood. So I guess in a way the rebellion is just all about these little trailers that people call music videos, and how much money and time that people invest in something that�s just really not worth it, when we could be using that money to make, you know, a short film, a feature film; things that are worthwhile.�
Speaking of worthwhile feature films, Omar recently scored the music for a film called El Buffalo Del Noche. �It was the fourth screenplay for Lenore Deigna (SP), who did Babel, 21 Grams and Amores Perros, those wonderful films. It was a very difficult but very nice experience,� he says. When asked if he�s seen any interesting films himself lately, Omar cites No Country For Old Men and There Will Be Blood as �phenomenal�. �I think that director with There Will Be Blood has just jumped a whole other level, he made it clear to us that he is probably the leading great visionary of cinema right now, and I think he will be remembered as such even if people don�t see it right now.�
To him there is no necessary differentiation between all of his artistic output. It is all relevant, regardless of the umbrella name it is published under. �There�s just a constant surge of energy and ideas and battery power that�s going towards making music. And I have to start spreading all the music kind of into groups, and say I want to focus on these songs right now. And then again with a big label, we get money, and having money means that we get time, and so when I get time I get to focus on certain ideas. So I have to scramble to pick which idea and which songs I want to focus on the most, and those become Mars Volta records.
�Now we�re also contractually obligated � we can only put out one record a year. So for most bands they put out one record every two or three years, but you know, I fought for the right to put out at least one, once a year. If I could have, I would put out way more out a year, but contractually I can only put out one a year. So then I have all this other music that sort of falls everywhere, that I work on, that I love, that turns into something later� but also at the same time, some of it I want to share with people, others I want to put it out because if I don�t I�ll grow sick of it and then I�ll just throw it away, and sometimes I just need money,� he laughs, �So I�ll put out a record. But contractually I can�t say it�s Mars Volta, even though it�s my music, even though I�m writing everything, producing, Cedric�s singing on my record; everything�s the same as Mars Volta, but we can�t put it out as such. So I put it out as a Omar Rodriguez Lopez record. And then I can get paid, and Cedric can get paid, and then we have some extra money.
�I�m always going broke, cos I�m always putting my money back into the work, back into the projects, because for me there is no separation.� �So I have to constantly be rehearsing, rehearsing with the studio, rehearsing my ideas, getting ideas out, and that way also that goes into whatever starts to become a Mars Volta record, and that way I�ve had all this time practicing with all this other material, so that I can take the best of the best ideas, everything that�s been refined, and sort of poured in to that moment, you know? And so what happens is a lot of things get made up on the side, and even for every quote-on-quote �solo record� or �Mars Volta� record that I put out, there�s still, as I mentioned before, plenty of records that just sit in my studio that are done. They�re mixed, they�re mastered, but no one will ever hear them because I just start getting bored of them.�
In the past year he has made eleven. Eleven Mars Volta records that might never see the light of day. Including, he says: �an all-orchestral record which was all string arrangements; one was a completely electronic record, and one was just a very simple rock record and I made also an ambient record. I have an experiment also with making traditional salsa music; I�ve made a record that was very melodic and it was all nice melodies with no percussion; and then I did another orchestral record that was completely dissonant.� Dizzy yet? �This is why, again, I�m always going broke,� he laughs good-naturedly.
The important thing to him is the process, not the end result. So it doesn�t bother him if these albums never see the light of day. Just the fact that he made an electronic record, an ambient record, a salsa record, all adds to where Omar stands now, at the pinnacle of experimental rock music. This is why he is amongst the best of the best; because of his tireless work ethic, un-ending humbleness and celebration of creativity and output that just soars light years above others. This is why he can now travel to places like New Zealand and lose himself in the ether of experimentalism on stage in front of a plethora of screaming, pulsating fans, come out on top, and do it all over again. Around the world a million more times or so.
This is why you should go to the Mars Volta�s show here in Auckland tonight(!), to bask in some of their creative energy, hope that it will rub off on yourself, then go start a band or something. Omar has said he is currently working on The Mars Volta albums five � an acoustic-based record � and six � a more �upbeat, aggressive record�, you know we�ll be all over those like a rash when they get released to the world.
Posted by Sarah Gooding under U.S.A
I just read the end and realized this is the same article that scan is from? About Omar's records. I dont know, someone fill me in and I'll close if so.
#3 Metrognomes
Metrognomes
"reverse the polarity of the neutron flow."
11 MARS VOLTA RECORDS???!!!
TAKE THEM OUT OMAR!
#4 hammer
#5 pour-another-icepick
pour-another-icepick
Boxcar Cadaver
Location:Montr�al, QC
i'd like to hear all of those projects
#6 uNEEK
Eunuch Provocateur
wow i already have so much respect for omar. this just took it over the top for me.
OMG when is Omar free from a fucking record contract?!?!?!
Didn't you read the news, Omar???? Indy all the way for de big bucks! (reznor scored 6 mil to himself for ghosts. i mean come on! ghosts!!!)
#8 sickgonzo
sickgonzo
Location:La Jolla, CA
11 omar records not 11 tmv records. TMV wouldnt put out an orchestral album. I mean they would, but i think its an omar record.
#9 darcym
darcym
Televator
^ why does it matter what its called? they are all omar albums.
#10 Metrognomes
I'm stoked to hear all these records!
#11 Blajke
Blajke
Location:Bris-anus
Oh god... they should release them all like radiohead did for in rainbows... digital first with all the profits going directly to the band!
best idea ever created by readiohead.
they should!
#13 Madi
Haha, loved the bit about making low-budget music videos after being given $50,000 to make one, and then running off and making five, lol. But the fact that $500,000 is the norm for a single video in the industry? Shit, what a waste. Good on Omar for trying to do something about that.
"�I turn in your video and you say oh, �you can�t have blood in it, and there�s a guy smoking a cigarette in the first scene, and you can�t have blahblahblahblah�, but they can have women degraded at any moment, at any hour in the day, they can have women being degraded, they can have champagne poured on them, and being treated like animals, but you can�t show somebody smoking a cigarette, and you can�t show blood, and things that are normal to life."
I love you Omar. Why the bloody hell doesn't the rest of the music industry think like you? ...cigarette? Looked a lot like a joint to me... That video's awesome. Love it when Cedric smears blood all over his face and it starts dripping off his hair Mad scientist/doctor people FTW.
Stupid record contracts restricting Omar and the music he wants to put out! I'd be in a state of constant bliss if we were getting several TMV albums PER YEAR. Until that happens, I need to do me some Omar Rodriguez-Lopez Records hunting...
#14 Phytarstk
Phytarstk
Location:U.S.A.
Oh God, just put those on your website with digital distribution and charge 5 bucks an album! I"LL BUY THEM ALL YOU BASTARD!
#15 Silent_Blues88
Silent_Blues88
Interests:Music, Writing, thinking about shit.
I hope to god those cd�s never EVER come out.
I think he sacrifices artistic integrity so that he can tell everyone that OMG I DID TWO ORCHESTRAL ALBUMS, AND ONE TRADITIONAL SALSA ALBUM.
he should just stick to what he does best, his ego is seriously getting too big if he thinks that he can do all that and maintain quality. but if he likes to write shitty music then good for him. I just dont get the fact that he writes this shit so that it sits on his "shelf". Art in general, to be complete, has to be shared with an audience in my opinion.
The saddest thing is if he released this so called dozens of albums, loads of people would buy them and drool over them just because they have his name on it, and omar isnt stupid,if he wants to make cash, he�ll release something like the jeremy ward collaboration and make money.
#16 Ramses
Location:Southern California
Interests:My son. Music.
i'm pretty sure he as talking about 'the widow' video, not the vids for goliath
You know what, I don't care if most of it sucks. If even 2 or 3 good or great albums are in there, or if most of the albums have even 1 or 2 good songs... I WANT ACCESS!!!
okay man.
Sweet. We Go Play Hoop?
SERIOUSLY!


text:
Home Financial Services Fintech Fintech startup OpenFin raises $15 million to unify financial desktop apps
Fintech startup OpenFin raises $15 million to unify financial desktop apps
Fintech February 16, 2017 —by LeapRate Staff 0
New York and London based fintech startup OpenFin, which has developed the first common operating layer for financial desktop applications, has announced $15 million in Series B funding from some of the world's leading fintech investors.
Participants in this round include Bain Capital Ventures, DRW Venture Capital, J.P. Morgan, the Euclid Opportunities fund of NEX Group PLC (LON:NXG), Nyca Partners, Pivot Investment Partners and an elite group of angels and financial industry executives who also participated in previous rounds.
Wall Street is powered by thousands of desktop applications that provide real-time market data, news, research, collaboration services and direct trading capabilities for millions of daily financial transactions worth trillions of dollars. OpenFin uses a modern, open technology stack to create a common operating layer for these applications, enabling rapid development and deployment, while simultaneously improving security.
Move fast and break things' became the mantra of Silicon Valley years ago and created a mindset that has accelerated an extremely profitable consumer software boom – and now we're bringing it to Wall Street,
said Mazy Dar, CEO and co-founder of OpenFin.
Our mantra at OpenFin is: 'Move fast. Break nothing.' Our operating environment brings the same rapid innovation cycle to change-resistant capital markets without sacrificing the security and stability of these mission-critical systems.
OpenFin technology powers applications licensed across over 100,000 desktops, including applications from 35 of the world's largest banks and trading platforms. These customers are using OpenFin to redesign and unify their front-end experience for traders and other end users at banks and hedge funds. Applications running on OpenFin also benefit from an improved time-to-market, dropping application deployment and update time from 6-18 months to "instant".
Sanoke Viswanathan, Chief Administrative Officer at J.P. Morgan Corporate & Investment Bank:
One critical component of OpenFin's success is their deep commitment to open source technology. Some of the most successful tech companies are combining proprietary technology aimed at fueling business growth with an open source, shared technology framework that gets better with contributions from the broader community.
Don Wilson, Chief Executive Officer at DRW:
Trillions of dollars pass through thousands of disparate desktop applications every day, creating a significant market opportunity to unify the operating platform, improve deployment speed, and infuse greater efficiency and security.
Michael McFadgen, Managing Director, Euclid Opportunities:
We are currently in the process of bringing a number of our NEX Optimisation services onto the OpenFin platform. The ability to provide a cohesive and unified user experience is extremely powerful, and it makes our services more nimble allowing us to stay in front of innovations in any market. OpenFin has the ability to bring that kind of unification to the entire financial industry.
The technology underpinning OpenFin is Google's Chromium engine which runs on Windows, Mac and Linux and provides a highly secure, sandboxed environment.
Combined with their Series A and seed rounds of investments, OpenFin has raised a total of $22 million in venture funding.
About OpenFin
Move fast. Break nothing. OpenFin is the financial industry's first common operating layer, enabling rapid and secure deployment, native experience and desktop interoperability. The world's largest banks and trading platforms use OpenFin to deploy desktop applications both in-house, and to their buy-side and sell-side customers. OpenFin investors include Bain Capital Ventures, DRW Venture Capital, Euclid Opportunities, J.P. Morgan, Nyca Partners and Pivot Investment Partners among others. The company is based in New York with offices in London.
openfin
NEX Group PLC (LON:NXG)
financial desktop apps
Alpari UK final distributions held up by one Retail Forex client appeal
EBS BrokerTec chooses Nasdaq for Forex market surveillance
FlexTrade joins FDC3 and teams up with OpenFin
ChartIQ launches Finsemble, an HTML5 desktop framework built on OpenFin
Thomson Reuters offers greater open desktop interoperability on Eikon
Pragma announces new block trading and pairs capabilities for Pragma360…FintechPragma, a New York based multi-asset class, quantitative trading technology provider, announced it has added two significant capabilities to Pragma360…
Deutsche Börse invests in €131M Digital+ Partners' German B2B software …FintechFrankfurt based exchange operator Deutsche Börse Group has announced that it has invested in the first German growth fund for fast-expanding B2B-soft…


Saturday March 16, 2013, Cusco, Peru. Back at the Casa SanBlas Hotel.
Yesterday started at 3:30 AM to the wake up call of a porter outside out tent. I fumbled in the dark for the zipper and reached may hand out for my morning cup of hot coffee. I had time for one sip before Deby's cup was ready and she eagerly sat up to accept her morning offering. Yesterday ended with a 2 hour train ride, 2 hour long bus ride and finally a shuttle to our hotel for a 9:00 PM return. As badly as we wanted to crawl under the soft covers with the provided hot water bottles, we both opted for the necessary hot showers to wash off four days of hiking dirt, sweat and mud. No blog posting last night.
Today we woke up early but not early enough to say goodbye to Dee Dee who needed to catch an 8:00 AM flight home. We had a fantastic time getting to know Dee Dee on the trail. You really get to know someone when you share four days of hiking, camping, sweating, climbing and fighting exhaustion, in weather that alternated between hot, cold, damp, really damp and the occasional downpour. Dee Dee showed her stuff hiking up Dead Woman's Pass and the "Gringo Killer" like a pro. Deby and I made it but not without a little more huffing and puffing. Dee Dee, I hope you get home safe and keep in touch, we'll miss you but not as much as Michael will, I'm sure.
I'll get to the Machu Picchu story after I catch up on a few things. This morning we met with German Canales Flores to return our backpacks and rucksacks for the trip. German (pronounced Her-'man) is the owner of Viajes Destino Peru, a Peru travel company. He arranged our whole Machu Picchu trip including guide, porters, transportation and the hotel. Everything was taken care of with the utmost professionalism. If you are ever in Peru and find need of any travel services he covers the whole country and can arrange tours or hotels. Click HERE for his web site.
Also, before I get to the Machu Picchu tale I want to thank Alex at Peru Moto Tours for helping me get my bike fixed! Yes, while we were hiking Alex made arrangements with a local mechanic to repair my blown rear shock absorber. I thought it would need replacing but there was not one to be found in the whole country. No problem for the resourceful people of Peru, if you can't buy something fix the old one. Nice.
Alex and I with the motorcycle. They not only fixed it, they did a total detail cleaning job, it hasn't looked this clean in months!
Now for the main feature…….
In case not everyone is familiar with Machu Picchu, it is the most famous Inca site and was built around 1450 The Wikipedia Link HERE has a good overview. It was re-discovered in 1911 by Hiram Bingham, an explorer from Yale that is credited as being the inspiration for Indiana Jones. Our co-riders Keith and Dave visited the site 50 years ago on the original Motoraid trip. They said they were almost the only people there. Today it is the most popular tourist spot in Peru, the government limits the number of visitors to 2500 per day. As you can imagine, our experience was much different from theirs. Dave and Keith had such an incredible time in 1962 that they didn't want to go back and see the commercialization of the site. They encouraged us to make our first time visit but they decided to ride south and we agreed to catch up later.
Most people who visit Machu Picchu, 2000 to be exact, do it as a day trip. There is a bus and train option from Cusco or one of the nearby cities. The other way to visit Machu Picchu is to hike the Inca Trail. The government allows 500 people per day to depart on the four day hike. Guess what route we took?
Richard, our guide, was waiting for us at 6:30 AM on Tuesday in the hotel lobby. We had been up for a while storing our luggage, drinking coffee and getting our provided backpacks and duffel bags ready. We met Richard the night before when he came to our hotel for a pre-hike briefing. We would carry the backpacks with water, snacks and what ever personal items we thought we would need, and the porters would carry our duffel bags which contained our provided down sleeping bags and up to 10kg of other stuff we might need. I liked the plan.
We rode in van for a couple of hours on our way to the starting point of the hike. Along the way we picked up porters until we had 4 hikers, 1 guide, 5 porters and the driver with all our gear loaded in the relatively small van. We stopped at a small town on the way for the porters to purchase food to last 4 days on the trip.
Finally,at the trail head we stopped to pack the gear.
We weren't alone, there were many groups, most much bigger than ours.
By about 10:30 we were at the starting gate, ready to go!
The trail starts off really easy, the guys with the big packs are the porters, the guys with the wimpy packs are the tourists, and the guides.
The weather was just right and the views were fantastic.
It wasn't long before we stopped for lunch. The porters run ahead and set up the tent, cook lunch and have it all waiting for us along the trail. Hmmm, I'm going to like this!
Back on the trail we meet some of the locals.
This lady was coming back from the bar where she downed a few checha's, the local corn brew.
Still close enough to civilization, we had opportunities to buy drinks or rent a horse. Had we seen this the next day I would have opted for the horse.
After 7.3 miles of hiking we came to our camp for the night. Tea was waiting for us at our private mess tent. Did I mention how much I like camping like this?
Our tents were ready with the air pads blown up and duffel bags delivered.
One of the locals came to check us out.
Dinner was served promptly 7:00.
This was the view out my tent flap.
The only problem we had was beer. There was no practical way to carry the quantity we needed, with ice, so we assumed we would have to be on the wagon for a few days. A hardship to be sure, but manageable. Then a miracle occurred, we looked out of our tent and this bucket of beer and water was there. No one knew where it came from but it looked OK so we each had a beer and filled our water bottles with the mineral water. Life was good! Ahhh, the end to a perfect day hiking. When it was dark I looked up and saw for the first time, the southern cross right in the middle of the milky way – wow. Of course the lyrics ran through my head…..
What a day, below is the elevation plot, we started at around 8,000 feet and ended up at close to 10,000 feet. My acclamation time in Cusco was paying off, I felt great and drifted off into one of the best nights sleep on the trip.
So, this seems like too long a post already so I'm going to stop here. Stay tuned, I'll get the next post out soon!
This entry was posted in 2013 Motoraid II, 2013 Peru, Motorcycle Adventure by donnh. Bookmark the permalink.
Jim and I just read about your trip and were completely captivated! We would like to read more. I'd really like to get your starting blogs also. Good luck to you. You certainly are having the trip of a lifetime!!!


Lester was appointed as Senior Panel Member in 2005, following several years as a sessional member. He has under graduate qualifications in town and regional planning and post graduate qualifications in sociology. Lester has significant expertise in strategic and statutory planning, project implementation and plain English communication and drafting. He has previously worked in the Local Government and private sectors.
Lester is a Fellow of the Victorian Planning and Environmental Law Association.


Innovative lightweight design is the key to reducing consumption and pollutant emissions. Especially the paradigm shift currently underway towards more electrification demands new possibilities for saving weight to be explored. A conflict in objectives results here due to the fatigue requirements that are targeted. FEMFAT is a progressive software solution for dealing with the associated challenges.
FEMFAT is a universally applicable software program for the fatigue analysis of statically and/or dynamically loaded components and complete systems. Based on stresses from finite element analysis, FEMFAT delivers analysis results such as fatigue life or damage as well as safety factors. This enables the identification of lightweight design potentials as well as potential weak spots already at an early product development phase.
The methods used are a combination of classical nominal-stress or stress-strain concepts and calculation standards such as TGL and FKM as well as methods that have been developed at Engineering Center Steyr GmbH & Co KG ("ECS"). These include the support effect concept by means of relative stress gradients and mean stress influence in combination with the critical cutting plane method as well as new methods for the determination of equivalent stresses.
Moreover, there is the fact that FEMFAT has proven itself at ECS for many years in our everyday work of engineering services. This means that the wealth of experience gained from more that 1,000 successful projects dealing with fatigue is incorporated in FEMFAT – an advantage of inestimable value.
Comprehensive documentation, "Getting Started" videos, etc.


text:
package us.codecraft.webmagic.proxy;

import org.junit.Test;
import us.codecraft.webmagic.Site;
import us.codecraft.webmagic.Task;

import static org.assertj.core.api.Assertions.assertThat;

/**
 * @author code4crafter@gmail.com
 *         Date: 17/4/16
 *         Time: 上午10:29
 */
public class SimpleProxyProviderTest {

    public static final Task TASK = Site.me().toTask();

    @Test
    public void test_get_proxy() throws Exception {
        Proxy originProxy1 = new Proxy("127.0.0.1", 1087);
        Proxy originProxy2 = new Proxy("127.0.0.1", 1088);
        SimpleProxyProvider proxyProvider = SimpleProxyProvider.from(originProxy1, originProxy2);
        Proxy proxy = proxyProvider.getProxy(TASK);
        assertThat(proxy).isEqualTo(originProxy1);
        proxy = proxyProvider.getProxy(TASK);
        assertThat(proxy).isEqualTo(originProxy2);
        proxy = proxyProvider.getProxy(TASK);
        assertThat(proxy).isEqualTo(originProxy1);
    }
}


Companies are launching virtual work options at an increasing rate and for sound business reasons – to reap operational cost savings, to expand recruitment options and improve retention, to leverage technology, or to grow their impact around the globe. Consider Gallup's 2017 "State of the American Workplace" report, which revealed that 43 percent of all employees worked remotely in 2016, and the 2017 Deloitte Millennial Survey, which found that 64 percent of millennials were able to work remotely – up 21 points from 2016.
Developing your talent virtually is becoming increasingly more complex and requires a thoughtful, strategic approach, from onboarding a new hire to developing a seasoned professional. Engagement and participation are concerns when training virtually, and you can't underestimate the difficultly of ensuring that employees are applying what they learn on the job. However, you can learn what not to do from organizations that have stumbled out of the gate. Here are the top 10 mistakes companies are making when training virtual teams.
When training a virtual team, it's important to take into account the life stage of its members. Our research on virtual team effectiveness has found that seasoned virtual teams need support and training on managing conflict and staying connected, while newly formed teams needs training on roles, responsibilities, collaboration technology and communication strategies.
Virtual teams often bring more diversity factors for trainers to consider beyond gender, age and racial diversity. With a global virtual team, you're bringing into play differences in ethics, cultural norms, native languages and even non-verbal communication. It's important to consider cultural sensitive training and unconscious bias and to take into account team meeting times and communication and processing styles. The work of creating an inclusive virtual team environment is never done. Virtual trainers need a high level of CQ (cultural intelligence) in order to adapt to a dynamic and complex multi-cultural workplace.
Virtual teams often bring more diversity factors for trainers to consider beyond gender, age and racial diversity.
Assume that employees will connect to your online training through different browsers and with different connection speeds, and test all your online training on a variety of platforms prior to launch. Understand the use of plug-ins and the need for enabling pop-ups. Remind people to turn on their microphones and cameras and to be presentable. Over-communicate, and don't leave anything to chance. A technology failure with 200 virtual leaders on the line can undermine your training effort and damage your credibility.
It's possible that your leaders are actually afraid to trust their employees to be productive if they're out of sight. It's hard for leaders to admit that they are fearful of change that requires them to step out of their comfort zone. Recognize whether your leaders need support with their virtual collaboration skills and ability to host engaging and interactive team meetings. Train them on how to discuss expectations and how to agree on what accountability looks like in a virtual environment. Be sure that they are comfortable leveraging the technology available to connect and build relationships with their team members.
Virtual teams should not operate in isolation. The fact that they are remote makes the separation from a home office a real concern. Clearly communicate alignment of individual and team goals with company goals, train your virtual team members on how to speak up effectively while working remotely, and engage them in team building with other parts of the organization on a regular basis.
Virtual teams should not operate in isolation.
We learn best by interacting and participating, and you can easily build interaction and participation into an online course. Interaction among team members is the most effective learning method. Live virtual teach-backs, where team members learn a topic, teach it to others and answer questions, help build team cohesion and subject mastery. They also create an environment where questioning and feedback happen naturally and where the team improves its comprehension and knowledge retention.
No one wants to waste time on training that doesn't have an impact. Up-front tasks that can help with application include conducting a needs assessment, coaching leaders on post-training support, providing pre-training tasks or real-world case studies, involving SMEs as teachers, and sending follow-up activities and check-ins. Be sure that you are also evaluating training regularly based on reaction; engagement; level of improvement in skills, knowledge or attitude; ease of application on the job; and business impact.
Research shows that gathering your team together "IRL" (in real life) is still one of the most effective ways to build trust, culture and commitment. Budget and plan an event focused on building connection and aligning around team values and goals. Offering this event even just annually can improve job satisfaction and retention on any virtual team.
Budget and plan an event focused on building connection and aligning around team values and goals.
Mentoring is the best way to instill culture and help a new team member learn the political landscape and establish strong relationships quickly.
Don't leave your new hires to fend from themselves just because they're remote. Have all remote employees attend orientation at company headquarters or meet with their manager in person during the first week. If everyone is remote, use a combination of one-on-one virtual meetings; team mentors; and online courses on company values, policies and procedures. Use a well-thought-out 90-day training schedule as highlighted in the example below.
Tara Powers, MS, is the author of "Virtual Teams for Dummies" and the CEO of Powers Resource Center, a Boulder, Colorado-based talent development and leadership training company.


I have never liked leftovers. While my two brothers would happily, dare I say, gratefully, eat leftovers anytime my mom served them, I always rebelled: "It's too fishy." "It's too meaty." "It's too left-overy." Hey, I was six. My diction was limited.
Although I'm a lot older, I still don't love leftovers, because as we all know, they ripen with age. When it comes to stews, that's a glorious thing. When it comes to fish sticks, not so much.
This past February, which was American Heart Month, I cooked a lot of pork tenderloin. (In case you haven't heard, February was a big month for pork: The American Heart Association recently certified pork tenderloin as a heart-healthy food with its iconic red check mark.) So I had a lot of leftovers. And — Mom, get this — I ate leftovers, leftovers so good I thought I'd share them with you here.
1. Thinly slice and heat it, and nestle inside of a crusty oblong roll with sauteed onions, mushrooms, peppers, and mozzarella cheese or barbecue sauce, cole slaw, and Monterey Jack cheese.
2. Dice and saute it, and add to home-made fried rice.
3. Chop and heat it, and add to rice and beans.
4. Thinly slice it and add to pasta. Try rigatoni with sauteed pork, white beans, spinach, olive oil, and lots of grated Parmesan cheese.
5. Chop it into small pieces and add to your nachos.
6. Dice or slice it, and use in place of bacon for a breakfast scramble.
7. Thinly slice it and add to quesadillas or tacos with shredded cheddar cheese, salsa, and guacamole.
8. Thinly slice and saute it, and add to a bowl of ramen noodles or miso soup.
9. Thinly slice it and add to a hearty salad of romaine lettuce, sliced apples, almonds, and a mustard vinaigrette.
10. Slice into thin strips and add to a cold Asian noodle salad with sprouts, carrots, sugar snap peas, mangoes, and a soy-ginger dressing.
11. Slice and heat it, and serve over hot creamy polenta with tomato basil sauce and grated Parmigiano-Reggiano cheese.