text:
Outkick The Coverage with Clay Travis
Clay Travis Says Donald Trump Made Megan Rapinoe Look 'Ridiculous'
Clay Travis: "Trump didn't rip Megan Rapinoe, he said 'I'm inviting the women's team to The White House win or lose, I'm a fan of them'. I think Donald Trump made Rapinoe look bad here. She's out there ripping The White House and dropping F-bombs saying they're not going to get invited then BOOM. I think the president actually behaved in a magnanimous fashion… I think it's a big win for Donald Trump and made Rapinoe look ridiculous."
Listen to Clay Travis discuss the ongoing feud between United States Women's National Team star Megan Rapinoe and President Donald Trump after Rapinoe made news Wednesday by saying 'I'm not going to the f**king White House' when responding to a question about visiting 1600 Pennsylvania Avenue if the team won the World Cup.
In true Trump fashion, the President took to Twitter to respond to Rapinoe's diss, but held back on his usual trolling with a rather reasonable response:
'I am a big fan of the American Team and Women's Soccer, but Megan should WIN first before she TALKS! Finish the job! We haven't yet invited Megan or the team, but I am now inviting the TEAM, win or lose. Megan should never disrespect our Country, the White House, or our Flag, especially since so much has been done for her & the team. Be proud of the Flag that you wear. The USA is doing GREAT.'
Check out the audio below as Clay called Trump's handling of the situation 'magnanimous' and said Rapinoe took an 'L'.
Clay Travis Says Megan Rapinoe Shouldn't Be Cursing During USWNT Interviews
Clay Travis comments on United States Women's National Team Star Megan Rapinoe Trolling Donald Trump saying 'I'm not going to f**king White House.'
Megan Rapinoe Trolls Trump: 'I'm Not Going to the F**king White House'
Clay Travis calls out Megan Rapinoe for her recent 'I'm not going to the f**king White House' comments and says the team should go if they win.
Clay Travis: Adam Silver Banning the Term 'Owner' Hurts the NBA's Future
Clay Travis says Adam Silver is alienating the average basketball fan who doesn't agree with Silver's next-level efforts to ban common words.


As the draft Mental Health Bill is prepared to be put before Parliament, a former mental health patient and a mental health carer from Wales are heading for London to deliver crucial evidence.
Can Taking Painkillers During Pregnancy Cause Schizophrenia?
A new study from Denmark suggests that there may be a link. Published in the November issue of the British Journal of Psychiatry, the study set out to discover whether prenatal exposure to analgesics may affect the development of the nervous system of the foetus, leading to an increased risk of schizophrenia in adulthood. Results show that mothers who take analgesics in the second three months of pregnancy are four times more likely to have a child that will develop schizophrenia.


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I am human. I will make mistakes. We all will. But, I'm thankful for the lessons learned. In all that I do, I try to see what the lesson is that I was supposed to learn. Many times I discover it and I'm thankful for it.
That's what life is about. Learning lessons. Learning in spite of your trials and tribulations. Learning through your pain. It's hard. I know. I've been there.
But, there is always a lesson and it will get better. No matter what you are going through there is a light at the end of the tunnel. You may not be able to see it but it is there. When you get to the end, make sure you share your story because someone else may benefit from your story of triumph.
Be a blessing to others and learn the lesson that you were supposed to learn. It's day 14 and I'm thankful for lessons learned in my #23daysofthankfulness.


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FRIDAY, APRIL 5, 2002 Teex, UfcK AT THIS.1 I TUST HAD 10 FREE PfcNtuWW *3DG putative SPEhiD 35& BOCKS ON HEW TUXTSOOKSf I'm back from Spring Break! What! ya been up kto Zoltar? MOVIE REVIEW by Gina Telaroll It seems today that the only way a movie can get attention is if it manages to boggle our minds, delve into a controversial issue, educate us or be the utmost representation of reality. Or star Adam Sandler. One wonders what happened to films that represent why the majority of Americans go to the cinema—to be entertained. David Fincher, a director known mainly for boggling minds and applying his own philosophy of life to his films, looks back to this Panic Room STARRING Jodie Foster, Forest Whitaker, Jared Leto DIRECTED BY David Fincher RATED **1/2 simple principle of pure entertainment in his latest film "Panic Room" "Panic Room" stars Jodie Foster as Meg Altman who is recently divorced and looking for a new home in New York City with her daughter Sarah, played by newcomer Kristen Stewart. The two finally decide on an unusual brownstone as their new living space, unusual because it has a hidden room, the panic room. The room is surrounded by steel and once someone is inside, no one else can enter. One night, while both mother and daughter are sleeping, three men break into the brownstone. When Meg realizes this, she grabs Sarah and the two escape into the panic room. They confront the robbers, played by Forrest Whitaker, Jared Leto and Dwight Yokam, over the intercom and tell them to take what they want and leave. The robbers then proclaim, "What we want is in that room." From here on out the film focuses on the robbers' attempts to break into the panic room, and Meg and Sarah's attempts to alert someone about their situation. From the moment the three men break into the house, Fincher starts to roll out the punches, and he doesn't hold back. He builds up the suspense and lets it explode, only to start the process back up again. The movie doesn't really have a long running plot like MAGAZINE shouldn't let The fAan^ Screw you over like that. Do utai I do 8u\) ^our books, photocopy xer% then return 'en! YEAH, BOCK STORE inkblots by Maurice Tbuilt an Evil robot. Vlwahahah No need to 'Panic,' Fincher still on top of his game On tot fWcH win AU. OF "rtost PtWocoPES I Jl^W change but 1«ire n\ssin3 \Jjre point...j Umm, What's it rDo?! I really don't know. Kristen Stewart as Sarah Altman and Jodie Foster as Meg Altman star in the Columbia Pictures thriller "Panic Room." "Fight Club," "Seven" and "The Game," but instead it creates its entertainment in small moments that in the end add up to one night. He makes a movie that doesn't require long and focused attention and just lets the audience go with it and take it in as it comes.. The role of Meg Altman was originally to be played by Nicole Kidman, but after she received a leg injury, Jodie Foster agreed to fill in. Foster has played the role of the strong independent woman facing an adversary before, and Photo courtesy of Columbia Pictures she fills the role perfectly here. She has the good sense to not come on too strong, showing the weaknesses her character has as well as her strengths. Likewise, Stewart gives a solid performance in her first major role, as she too makes an effortless transition from a know-it-all teenager to a frightened daughter over the course of the film. Leto, Yokam and Whitaker provide some comic relief, and you can almost hear Fincher laughing at the absurdity of their actions. All three do a great job of showing that "Panic THE DEPAULIA PAGE 21 StmRDO PRCWOLOUE DO THE WORDS 'COPYRIGHT VIOLATION IW A*4TTH1H6 TOW? Tfcoyvw 4-s-oz. Room" isn't meant to reveal some overlooked path that leads to the meaning of life, or be taken too seriously, but is in fact trying to simply entertain. The David Fincher touch shows on "Panic Room's" camera angles and computer animation. He does a masterful job of taking his audience throughout the house, entering doors through keyholes and traveling through vents to tell his story. It often leaves one wondering where the camera will go next instead of contemplating how the mother and daughter will get themselves out of another sticky situation. "Panic Room" is one of those movies where you can really get into it for the two hours you are in the theater and walk out and never really give the movie much thought again, unless of course to mention how cool the special effects were. Movies like this are far and few, as it seems Americans are only able to watch incredibly serious and deep films, or films that place a large question mark on the level of stupidity we are willing to accept. With "Panic Room," David Fincher has proven that movies can actually be intelligent and purely entertaining all in one package it might not be on the same level as "Fight Club," but regardless, "Panic Room" is still incredibly fun to watch.
Transcript FRIDAY, APRIL 5, 2002 Teex, UfcK AT THIS.1 I TUST HAD 10 FREE PfcNtuWW *3DG putative SPEhiD 35& BOCKS ON HEW TUXTSOOKSf I'm back from Spring Break! What! ya been up kto Zoltar? MOVIE REVIEW by Gina Telaroll It seems today that the only way a movie can get attention is if it manages to boggle our minds, delve into a controversial issue, educate us or be the utmost representation of reality. Or star Adam Sandler. One wonders what happened to films that represent why the majority of Americans go to the cinema—to be entertained. David Fincher, a director known mainly for boggling minds and applying his own philosophy of life to his films, looks back to this Panic Room STARRING Jodie Foster, Forest Whitaker, Jared Leto DIRECTED BY David Fincher RATED **1/2 simple principle of pure entertainment in his latest film "Panic Room" "Panic Room" stars Jodie Foster as Meg Altman who is recently divorced and looking for a new home in New York City with her daughter Sarah, played by newcomer Kristen Stewart. The two finally decide on an unusual brownstone as their new living space, unusual because it has a hidden room, the panic room. The room is surrounded by steel and once someone is inside, no one else can enter. One night, while both mother and daughter are sleeping, three men break into the brownstone. When Meg realizes this, she grabs Sarah and the two escape into the panic room. They confront the robbers, played by Forrest Whitaker, Jared Leto and Dwight Yokam, over the intercom and tell them to take what they want and leave. The robbers then proclaim, "What we want is in that room." From here on out the film focuses on the robbers' attempts to break into the panic room, and Meg and Sarah's attempts to alert someone about their situation. From the moment the three men break into the house, Fincher starts to roll out the punches, and he doesn't hold back. He builds up the suspense and lets it explode, only to start the process back up again. The movie doesn't really have a long running plot like MAGAZINE shouldn't let The fAan^ Screw you over like that. Do utai I do 8u\) ^our books, photocopy xer% then return 'en! YEAH, BOCK STORE inkblots by Maurice Tbuilt an Evil robot. Vlwahahah No need to 'Panic,' Fincher still on top of his game On tot fWcH win AU. OF "rtost PtWocoPES I Jl^W change but 1«ire n\ssin3 \Jjre point...j Umm, What's it rDo?! I really don't know. Kristen Stewart as Sarah Altman and Jodie Foster as Meg Altman star in the Columbia Pictures thriller "Panic Room." "Fight Club," "Seven" and "The Game," but instead it creates its entertainment in small moments that in the end add up to one night. He makes a movie that doesn't require long and focused attention and just lets the audience go with it and take it in as it comes.. The role of Meg Altman was originally to be played by Nicole Kidman, but after she received a leg injury, Jodie Foster agreed to fill in. Foster has played the role of the strong independent woman facing an adversary before, and Photo courtesy of Columbia Pictures she fills the role perfectly here. She has the good sense to not come on too strong, showing the weaknesses her character has as well as her strengths. Likewise, Stewart gives a solid performance in her first major role, as she too makes an effortless transition from a know-it-all teenager to a frightened daughter over the course of the film. Leto, Yokam and Whitaker provide some comic relief, and you can almost hear Fincher laughing at the absurdity of their actions. All three do a great job of showing that "Panic THE DEPAULIA PAGE 21 StmRDO PRCWOLOUE DO THE WORDS 'COPYRIGHT VIOLATION IW A*4TTH1H6 TOW? Tfcoyvw 4-s-oz. Room" isn't meant to reveal some overlooked path that leads to the meaning of life, or be taken too seriously, but is in fact trying to simply entertain. The David Fincher touch shows on "Panic Room's" camera angles and computer animation. He does a masterful job of taking his audience throughout the house, entering doors through keyholes and traveling through vents to tell his story. It often leaves one wondering where the camera will go next instead of contemplating how the mother and daughter will get themselves out of another sticky situation. "Panic Room" is one of those movies where you can really get into it for the two hours you are in the theater and walk out and never really give the movie much thought again, unless of course to mention how cool the special effects were. Movies like this are far and few, as it seems Americans are only able to watch incredibly serious and deep films, or films that place a large question mark on the level of stupidity we are willing to accept. With "Panic Room," David Fincher has proven that movies can actually be intelligent and purely entertaining all in one package it might not be on the same level as "Fight Club," but regardless, "Panic Room" is still incredibly fun to watch.

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Is metaprogramming possible in Javascript? During my routine work, i happened to write the chained javascript function which is something like LINQ expression to query the JSON result.
var Result = from(obj1).as("x").where("x.id=5").groupby("x.status").having(count("x.status") > 5).select("x.status");

It works perfectly and give the expected result.
I was wondering this looks awesome if the code is written like this (in  a more readable way)
var Result = from obj1 as x where x.status
groupby x.status having count(x.status)  > 5
select x.status;

is there a way to achieve this??
Cheers
Ramesh Vel

A: Most people insist on trying to metaprogram from inside their favorite language. That doesn't work if the language doesn't support metaprogramming well; other answers have observed that JavaScript does not.
A way around this is to do metaprogramming from outside the language, using
 program transformation tools. Such tools can parse source code, and carry out arbitrary transformations on it (that's what metaprogramming does anyway) and then spit the revised program.
If you have a general purpose program transformation system, that can parse arbitrary languages, you can then do metaprogramming on/with whatever language you like. See our DMS Software Reengineering Toolkit for such a tool, that has robust front ends for C, C++, Java, C#, COBOL, PHP, and ECMAScript and a number of other programming langauges, and has been used for metaprogramming on all of these.
In your case, you want to extend the JavaScript grammar with new syntax for SQL queries, and then transform them to plain JavaScript.  (This is a lot like Intentional Programming)
DMS will easily let  you build a JavaScript dialect with additional rules, and then you can use its program transformation capabilities to produce the equivalent standard Javascript.
Having said, that, I'm not a great fan of "custom syntax for every programmer on the planet" which is where Intentional Programming leads IMHO.
This is a good thing to do if there is a large community of users that would find this valuable.  This idea may or may not be one of them; part of the problem is you don't get to find out without doing the experiment, and it might fail to gain enough social traction to matter.

A: although not quite what you wanted, it is possible to write parsers in javascript, and just parse the query (stored as strings) and then execute it. e.g.,using libraries like http://jscc.jmksf.com/ (no doubt there are others out there) it shouldnt be too hard to implement.
but what you have in the question looks great already, i m not sure why you'd want it to look the way you suggested.

A: Considering that this question is asked some years ago, I will try to add more to it based on the current technologies.
As of ECMAScript 6, metaprogramming is now supported in a sense via Symbol, Reflect and Proxy objects.
By searching on the web, I found a series of very interesting articles on the subject, written by Keith Kirkel:
Metaprogramming in ES6: Symbols and why they're awesome
In short, Symbols are new primitives that can be added inside an object (without practically being properties) and are very handy for passing metaprogramming properties to it among others. Symbols are all about changing the behavior of existing classes by modifying them (Reflection within implementation).
Metaprogramming in ES6: Part 2 - Reflect
In short, Reflect is effectively a collection of all of those "internal methods" that were available exclusively through the JavaScript engine internals, now exposed in one single, handy object. Its usage is analogous to the Reflection capabilities of Java and C#. They are used to discover very low level information about your code (Reflection through introspection).
Metaprogramming in ES6: Part 3 - Proxies
In short, Proxies are handler objects, responsible for wrapping objects and intercepting their behaviors through traps (Reflection through intercession).
Of course, these objects provide specific metaprogramming capabilities, much more restrictive compared to metaprogramming languages, but still can provide handy ways of basic metaprogramming, mainly through Reflection practices, in fact.
In the end, it is worth mentioning that there is some worth-noticing ongoing research work on staged metaprogramming in JavaScript.

A: Well, in your code sample:
var Result = from(obj1)
            .as("x")
            .where("x.id=5")
            .groupby("x.status")
            .having(count("x.status") > 5)
            .select("x.status");

The only problem I see (other than select used as an identifier) is that you embed a predicate as a function argument.  You'd have to make it a function instead:
            .having(function(x){ return x.status > 5; })

JavaScript has closures and dynamic typing, so you can do some really nifty and elegant things in it.  Just letting you know.

A: No. JavaScript doesn't support this.
But this looks quite good too:
var Result =  from(obj1)
             .as("x")
             .where("x.id=5")
             .groupby("x.status")
             .having(count("x.status") > 5)
             .select("x.status");

A: In pure JS no you can not. But with right preprocessor it is possible.
You can do something similar with sweet.js macros or (God forgive me) GPP.

A: Wat you want is to change the javascript parser into an SQL parser.  It wasn't created to do that, the javascript syntax doesn't allow you to.
What you have is 90% like SQL (it maps straight onto it), and a 100% valid javascript, which is a great achievement.  My answer to the question in the title is: YES, metaprogramming is possible, but NO it won't give you an SQL parser, since it's bound to use javascript grammar.

A: Maybe you want something like JSONPath if you've got JSON data. I found this at http://www.json.org/. Lots of other tools linked to from there if it's not exactly what you need.
(this is being worked on as well: http://docs.dojocampus.org/dojox/json/query)

redpajama_set_name: RedPajamaStackExchange


A settlement between Facebook and the U.S. government would force the company to get users' consent before making "material retroactive changes" to its policies, the Wall Street Journal reports.
The platform, with 800 million worldwide users, changed its user policy in late 2009, leading to an online outcry as well as a federal investigation.
The agreement could ripple much farther than a wall posting, however. Many companies -- pre-existing and those serving this purpose specifically -- are investing in user-behavior studies, quantifying what information users provide and then serving up relevant ads and promotions to them.
The original complaint was filed with the Federal Trade Commission, who has to approve the pending settlement, as well.
It seems Facebook is getting its house in order -- with the feds as well as users -- as they near an April 2012 deadline to publicly file their financial statements. Read: a pending IPO.


text:
Tangent Online
the genre's premiere review magazine for short SF & Fantasy since 1993
Galaxy's Edge #42, January/February 2020
Sunday, 12 January 2020 10:08	Victoria Silverwolf
"The Pogonip Fog" by Sean Patrick Hazlett
"Kiss it Better" by P.A. Cornell
"Anniversary Project" by Joe Haldeman (reprint, not reviewed)
"Vibrations of the Wishful Kind" by Robert P. Switzer
"Releasing Hitler" by Larry Hodges
"Sweeps Week" by Mercedes Lackey (reprint, not reviewed)
"On Clockwork Wings" by Tara Calaby
"The Choice" by Liviu Surugiu
"Thin Skinned" by Michael A. Clark
"The Sixth Palace" by Robert Silverberg (reprint, not reviewed)
Reviewed by Victoria Silverwolf
This issue of Mike Resnick's on-line magazine comes with the very sad news that the editor, a prolific and greatly acclaimed author of imaginative fiction, died after a battle with an aggressive form of lymphoma. The publication will continue to appear, edited by Lezli Robyn.
Given his famous sense of humor, it is appropriate that the late writer's lighthearted "A Limerick History of Science Fiction" appears in his last editorial for the magazine. It is also fitting that this issue includes "Isaac from the Outside" by Gregory Benford, a free verse poem in honor of the one hundredth birthday of Isaac Asimov.
In "The Pogonip Fog" by Sean Patrick Hazlett, a recently divorced woman joins a small group taking skiing lessons. When they reach the top of the mountain, a strange yellow fog proves to contain a malevolent being intent on their destruction. One by one, her companions fall victim to the unseen creature, eventually leading her to another reality.
This is a gruesome horror story, with little hope that mere humans can escape the wrath of a supernatural monster. The final vision of a different, frightening world adds an intriguing touch of cosmic evil, in the tradition of H. P. Lovecraft. Overall, however, this bloody tale reads like a literary version of a gory movie.
"Kiss it Better" by P.A. Cornell takes the familiar practice of a mother kissing a child's injury to make it feel better and transforms it into something magical. The narrator's mother has the power to heal her daughter's wounds, physical or emotional, but only at the cost of taking on the pain herself. She finally makes the ultimate sacrifice, but passes the ability on to her child. Although there are no surprises in the plot of this sentimental story, its portrait of motherly love is likely to touch the reader's emotions.
In "Vibrations of the Wishful Kind" by Robert P. Switzer, a woman is able to communicate directly with the universe, which talks back to her and grants her anything she wants. After winning fifty million dollars in a lottery, becoming a great singer and dancer, and gaining the worshipful love of the man she wants, she asks for something unusual, leading to unexpected consequences.
In essence, this is another variation on the old theme of being careful with your wishes. The way in which things go wrong seems contrived. The sardonic speeches of the universe add a welcome touch of comedy.
"Releasing Hitler" by Larry Hodges begins with the infamous dictator winning parole from Hell after one million years. There is only one other damned soul left in the infernal regions, and he is allowed to escape just after Hitler. However, he has his own plans for the Fuehrer.
The way in which the plot makes use of a famous Nazi-hunter as a character may disturb some readers. Despite its fantasy premise, which seems almost whimsical, the story deals with serious themes. In particular, it ponders whether forgiveness is possible for the very worst crimes, or whether evil persons should face equally violent punishments. This potentially controversial story is more daring in concept than effective in execution.
"On Clockwork Wings" by Tara Calaby takes place in Australia in the Nineteenth Century. The narrator's husband, a toymaker, leaves his wife to seek his fortune in gold mining. The woman has extraordinary skill with bringing her husband's creations to life through mechanical means. So much so, in fact, that she is able to heal wounded birds by fixing their wings. She goes on to repair the brain and body of a prostitute dying of syphilis, and then performs one final miracle of engineering for herself.
This steampunk fantasy is reminiscent of Mary Shelley's classic novel Frankenstein; or, The Modern Prometheus in some ways, although the plot is entirely original. Its portrait of colonial Australia is a vivid and convincing one. The narrator's combination of the biological with the technological leads to many striking images.
In "The Choice" by Romanian author Liviu Surugiu, translated by Andrada Coos and Raluca Balasa, a man finds himself on the Moon, unable to remember how he got there. His spacesuit is quickly running out of air. Alternating sections of narration depict the man walking on the surface of the Moon, without apparent destination, and memories of his life, from early childhood to the tragic event that led him to face the probability of a lonely death.
This story slowly allows the reader to understand the main character's situation in a compelling way. Its intimate scenes of the man's dilemma, and the decision he must make at the end, are more effective than its speculative elements. The fact that Earth will soon lose its atmosphere, and that everyone on the planet must escape to Alpha Centauri, for example, is implausible when compared to the story's realistic aspects.
In "Thin Skinned" by Michael A. Clark, a team of explorers travels back in time to the Cretaceous Period. Their mission is to locate areas that will become sources of petroleum in their own time. Unknown to the others, the team's two military leaders receive secret deliveries from the future. When their teammates discover their motive, a tense battle of wills begins, with survival at stake.
The author creates a believable portrait of the ancient past and intriguing characters. The plot depends on the fact that one of the explorers has powerful psychic powers, which does not fit well with the rest of the story.
Victoria Silverwolf thinks Mike Resnick's award-winning novella "Seven Views of Olduvai Gorge" is one of the best science fiction stories of all time.
Inside Tangent
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About Tangent
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Print / Quarterly
Print / Bi-Annual
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E-Market / Weekly
E-Market / Bi-Weekly
E-Market / Monthly
E-Market / Bi-Monthly
Jim Baen\'s Universe
Lenox Avenue
Lone Star Stories
Shadowed Realms
Shadows of Saturn
E-Market / Quarterly
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The Pulp Magazines


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text:
The Visual Traveler
DAVAO's EDEN NATURE PARK AND RESORT A Trip to Tranquility
Posted by Margaux Camaya, The Visual Traveler March 13, 2014
If you're looking for a place to escape the madness of city life, then Eden Nature Park and Resort located in Davao City is the perfect place for you.
It's a mountain resort located in a city! Davao City being one of the largest cities in the world in terms of land area, has this little secret.
There are a lot of activities that you can do in the park. There's a Fishing Village wherein you can try catching tilapia and they'll cook them for you according to your specific instructions. There's also an area for horseback riding.
For those who like to swim, there's also a pool area both for kids and adults.
There are a lot of hiking trails that would occupy your day. Since the park resort is up in the mountains, it's very cool and the trees act as an umbrella against the sun. In fact the rooms are not air-conditioned, it's just equipped with a stand fan and a ceiling fan but during the night it was very cold and airy.
There's also a 45 minute tour that you can take and it will give you the history of how the park came to. It's also a working organic farm. They supply supermarkets with their vegetables and fruits. They also use these fresh ingredients in their restaurant.
There are cottages and rooms that are available for overnight stays. It's a great place for family reunions and company retreats.
We never regretted going to Eden Nature Park and Resort. And if the opportunity knocks, we'll visit it again.
Contact Information for Eden Nature Park and Resort:
Sales and Reservations Office
Matina Town Square
McArthur Highway, Matina
Davao City, Philippines
Tel. Nos: +63 82 299-1020, +63 82 296-0791
Fax: +63 82 299-0313
Mobile No.: +639189307590
E-Mail: info@edennaturepark.com.ph
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Q: Is the usage of custom media types a good option? I've been convinced by a fellow developer (now left) that the proper way to evolve RESTful web services is by creating custom media types for your services.
For example application/vnd.acme.payroll.v1+json
This way, you can tell your client to specify the encoding to use without changing the URI.
Is this technique a good one? Usually services embed the version into the url:
eg /acme/1.0/payroll/
I've had a lot of difficulty enforcing clients to use this scheme, especially as it seems DELETE does not enforce a media type

A: Yes, it's a good option. It clarifies the encoding you'll be using for payloads and lets both sides negotiate a different version of the encoding without changing the URI, as you correctly pointed out.
And yes, there's no need for a client to send a DELETE along with an entity-body. I believe it will simply be ignored by a compliant HTTP server, given that no payload data is transferred in that case. The client issues a DELETE for a URI, and the server returns a response code indicating whether it succeeded. Nice and simple! If the server wishes to return some data after a DELETE then it is free to do so, and should specify the media type of the response when it does.

A: There are a few main signaling mechanisms you can use in a RESTful service:

*

*The media type

*The rel of a resource you are linking to.

*Custom headers, like Accept-Version/Api-Version.

Each of these has distinct uses, and I will outline the ways in which we have come to understand them while designing our API.

Media Types
To signal what operations are possible on a given resource, and what the semantics of these operations are, many use custom media types. In my opinion, this is not quite correct, and a rel is more accurate.
A custom media type should tell you about the type of the data, e.g. its format or the way certain information is embodied or embedded. Having a custom media type means consumers of your API are tightly coupled to that specific representation. Whereas, using something more generic like application/json says "this is just JSON data."
Usually JSON alone is not enough for a RESTful service, since it has no built-in linking or resource-embedding functionality. That is where something like HAL (application/hal+json) comes in. It is a specialization of JSON that is still a generic format, and not application-specific. But it gives just enough to overlay the linking and embedding semantics on top of JSON that is necessary for coherently expressing a RESTful API.
Link Relation Types (rels)
This brings us to rels. To me, a custom rel is a perfect way to signal what type of resource is being dealt with or linked to. For example, a custom rel for a user resource might be http://rel.myapi.com/user, which serves two purposes:

*

*Clients of your API must know this key ahead of time, as it is API-specific knowledge. For example, if it was available on your initial resource and you were using HAL to link to the user resource, clients might find the user link via initialResource._links["http://rel.myapi.com/user"].href.

*Developers writing API clients can visit that URI in their web browser, and get an explanation of what that resource represents in your API, including what methods are applicable and what they do. This is a very convenient way to communicate that API-specific knowledge I mentioned. For examples of this, see http://rel.nkstdy.co.

If you combine rels with a standard or semi-standard media type like application/hal+json, you get resources which follow a uniform format specified by their media type, with API-specific semantics defined by their rels. This gets you almost all the way there.
Custom Headers
The remaining question is versioning. How do you allow clients to negotiate different versions of the resource, while not invalidating old URIs?
Our solution, inspired by the Restify Node.js framework, is two custom headers: Accept-Version from the client, which much match X-Api-Version from the server (or Api-Version in the upcoming Restify 2.0 release, as per the new RFC 6648). If they don't match, a 400 Bad Request is the result.
I admit that custom media types are a fairly popular solution here. In my opinion they don't fit very well conceptually, in light of the above considerations, but you would not be doing something weird if you chose them as your versioning mechanism. It has some semantic issues when used with methods other than GET though, as you note.
One thing to keep in mind is that in a truly RESTful system, versioning should not be such an issue. It should only matter in one very specific situation: when the representations of your resources change in backward-incompatible ways, but you still want to keep the same rels. So if the http://rel.myapi.com/friend resource suddenly loses its username field and gains an id field, that would qualify. But if it suddenly gains a nickname field, that's not backward-incompatible, so no versioning is needed. And if the concept of "friends" is completely replaced in your API with the concept of, say, "connection", this is not actually backward-incompatible, because API consumers will simply no longer find http://rel.myapi.com/friend links anywhere in the API for them to follow.


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This AI-Generated Video For SLIPKNOT's "Psychosocial" Is Freaky As Hell
Prepare for the purge now—before it's too late!
Dan Alleva
The surge in AI-generated videos lately is off the charts, and frankly, that's a good thing—because they kick ass! The latest offering: a new video for Slipknot's mega-smash "Psychosocial." Uploaded by YouTuber Hologram47, the video is everything you would expect from an AI-generated Slipknot video: vivid and surreal scenes of death, destruction and monsters, unrelenting and reigning supreme. So, in other words, go check this out just above!
In other horror-tastic Slipknot news, this week we took a trip down memory lane, back to 2018, when there was a Slipknot-themed Haunted House event right in the band's hometown of Des Moines, Iowa. You can check out more of that right here.
The Slaughterhouse—which specializes in haunted house attractions in Des Moines—created the fully and completely Slipknot-inspired haunted house, which at the time, was reported to have involved 40 actors [across] 10,000 square feet, and featured a '"maggot'-filled theme cake." Yum!
SLIPKNOT, PANTERA & GODSMACK To Headline Rock Fest 2023
Plus In This Moment, Ice Nine Kills, Papa Roach, and more.
Greg Kennelty January 20, 2023
Watch COREY TAYLOR, PAUL GRAY, JOEY JORDISON & SCOTT IAN Cover SLIPKNOT's "(sic)" Live In 2005
They crushed it.
JAY WEINBERG Takes A Deep Dive Into SLIPKNOT's Mask History
The House Of Masks has returned.
CLOWN Thinks SLIPKNOT Will Release Look Outside Your Window After April Of This Year
Could 2023 finally be the year?


Forest fires have multifaceted impacts on societies. When integrated in an effective firefighting strategy, the rapid access of aerial resources to remote areas can play a crucial role. However, the efficiency of an aerial drop, due to the erratic atmospheric conditions and reduced visibility, depends essentially on the pilot's expertise since on-board systems for computer-assisted drops are unavailable. This work addresses the development of a numerical model for the real-time simulation of an aerial drop of firefighting products. The gas-phase is modelled through a vegetative canopy model coupled to a modified surface-layer model under diabatic conditions. For the particulate phase, the primary breakup of the retardant jet is obtained through the continuous stripping of droplets from the exposed surfaces by Rayleigh-Taylor and Kelvin-Helmholtz instabilities. The formed droplets are then subjected to distortion and secondary breakup due to aerodynamic forces mostly based on experimental correlations defined in terms of the Weber number. During the process, droplets are dispersed applying a Lagrangian approach. The code is linked to a GIS-based graphical interface, thus privileging the use by operational people. Computed ground pattern has been compared, with generally good results, with experimental data from a set of real scale dropping tests in which both conventional and constant flow-rate delivery systems were used. The model has potential to be used as a demonstrative application in firefighters training; as an operational tool during firefighting operations; or in the development of new products, as an alternative method to real scale dropping tests. Keywords: aerial firefighting, operational numerical model, drop optimization.
aerial firefighting, operational numerical model, drop optimization.


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Catholic priest who worked at Balls Pond Road church faces jail for raping and assaulting boys
Our Lady and Saint Joseph Roman Catholic Church. Picture: Google Maps
A Catholic priest who repeatedly raped and assaulted boys is facing jail.
Father Eugene Fitzpatrick, 68, was found guilty of the horrific attacks at Blackfriars Crown Court yesterday after he denied all charges.
He raped one boy multiple times between 1986 and 1992 while working at Our Lady and Saint Joseph Roman Catholic Church in Balls Pond Road, Islington.
Fitzpatrick also indecently assaulted another boy throughout the 1960s and 1970s. The first offence took place in Tufnell Park in 1965 when he was just 17 and the boy aged under eight.
Crown Prosecution Service lawyer Mubeena Cockar-Khan said: "Eugene Fitzpatrick repeatedly indecently assaulted one boy and raped another for his own gratification.
"He denied the offences but brave victim testimony led to these verdicts.
"We thank them for coming forward and supporting this prosecution and hope today's verdicts provide a sense of justice for these historic offences against them."
Fitzpatrick will be sentenced today.


The most important Islamic rites of passage are circumcision and marriage, signaling the end of childhood and initiation into the culturally and religiously defined roles of adulthood. Although not mentioned in the Quran, male circumcision is the most widely observed rite of passage throughout the Muslim world. Circumcision usually occurs between the ages of three and fifteen years, depending on regional custom, and may follow some achievement, such as a boy's first Quran recitation from memory. It is commonly held during the month of Muhammad 's birthday and is accompanied by festive celebrations and Quranic recitations. Circumcision signals the boy's entrance into full participation in Islamic ritual world and into the gendered world of men. The wedding is the equivalent puberty rite for a girl, marking her movement from girl and daughter to woman and wife. After marriage, a girl may move to the home of her husband's family, her movements may be restricted, and she may receive greater respect and authority. Processions, special clothing, and feasts often accompany a wedding.


2 Feb @ 11:38am Mafi killed Aranthos and inherited their equipment and dossier.
2 Feb @ 11:39am EvilGav killed Mafi and inherited their equipment and dossier.
2 Feb @ 12:30pm moose killed EvilGav and inherited their equipment and dossier.
2 Feb @ 3:24pm Crabbey killed Rynocera and inherited their equipment and dossier.
2 Feb @ 4:06pm Jish killed Mr WK and inherited their equipment and dossier.
2 Feb @ 4:13pm Jish killed moose and inherited their equipment and dossier.
2 Feb @ 4:28pm Jish killed Crabbey and inherited their equipment and dossier.


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Zedd: "I'm Not Really Inspired By EDM At All"
Jordan Calvano
It seems like more and more producers right now are trying to separate themselves from the EDM label. There are many reasons why this could be happening, but it seems the term EDM is becoming more and more associated with gimmicks, lack of musical qualities, and the bane of the dance music community. What started as a way to quickly categorize more mainstream dance music has become the upper 1% of the electronic world, and many people don't want to be a part of.
In a recent interview with Rolling Stone, we witness Zedd working hard once again to separate himself from this classification and associate himself more with genres like rock and pop. He mentions "It's important for me that my fans know I'm Zedd the musician, not Zedd the EDM DJ."
The whole campaign of True Colors seems to a separation from the EDM realm, even though the music itself doesn't stray too drastically from much of the music currently filling the scene. More poppy for sure, which is something many people have criticized him for. He said he might make an acoustic album in the future, which is something we wouldn't mind seeing. Zedd also states:
"To be completely honest, I'm not very inspired by EDM at all. I have a really hard time listening to EDM and being like, "Wow, that's really inspiring, I want to do something like that." There's a handful of artists that will do that. I'm way more inspired listening to, song-structure-wise, the Beatles."
He goes on to speak about his first interaction with Skrillex, working with Lady Gaga, other artists he has been inspired by, and more about the difference between Clarity and True Colors. You can read the full interview with Rolling Stone below.
What's the main difference between this album and your previous work?
Well, I think my first album, nobody had an expectation — not even my label. I'd never made an album before, so it was really a fresh start. Then obviously I gained fans through the record, and suddenly people were expecting me to do things. I thought it was really important for me to do what I want to do, and not be caught in this cage that you technically built yourself. I started the songs, and I liked that the first four or five songs were really different: "Transmission" was one of them, which sounded totally different from "True Colors," which sounded totally different from "Straight Into the Fire." Halfway through I realized I would like to keep that idea as a concept album, of every song being a very different color. I had a song that was very similar to one of the other songs on the album, so even though I loved the song — it probably would have been a single — I cut it out.
Read: Above & Beyond Perfectly Explains The Current Problem With EDM
I imagine after "Clarity" blew up, there was pressure following you to do certain things. How did that pressure take shape?
It's boring to stay the same. I can't make "Clarity" 10 times. I'm bored of it; I made it once and I want to move on. It's important for me that my fans know I'm Zedd the musician, not Zedd the EDM DJ. And if I decide to make an acoustic album next time, which is very well possible, that's still me. My heart is in there. It doesn't mean that sonically the sound will be the same.
To me the pressure is not on me really. The pressure is more on the label, because I'm convinced of my abilities. With "Clarity," the label told me that the song wouldn't be a hit because it was four-minutes-and-30-seconds long. It had two drops; they were 45 seconds long. So much instrumental — that music wasn't on the radio. And I was like, "Well, yeah, but I love it." And it became a club hit and everyone played it, and then the radio's like, we're going to play it too. . . . and suddenly the rules didn't apply.
Watch Jeff Mills, Prabhu Edouard & Jean-Phi Dary Perform In Ruins On Greek Island Delos
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Album Review: Lane 8 - Reviver
One of the things that's great about "Clarity" is that it has a real classic pop songwriting sound. I was curious about your influences outside of EDM. Who inspired you in that way of writing?
To be completely honest, I'm not very inspired by EDM at all. I have a really hard time listening to EDM and being like, "Wow, that's really inspiring, I want to do something like that." There's a handful of artists that will do that. I'm way more inspired listening to, song-structure-wise, the Beatles. The Beatles have never stretched things unnecessarily if it didn't help the song. In dance music, you will sometimes find those structure of, like, a one-minute intro. And, like, why do you need a one-minute intro? That's not necessary at all. I kind of went about it in a very Beatles way. Or Queen is a huge influence for me. Bands like Silverchair and Radiohead. Feeder, Queens of the Stone Age.
Read: Gareth Emery Explains Why Much Of Dance Music Is "A Bit Shit"
What was it that led you to use EDM as a medium for your pop songwriting?
I heard Justice, and to me, Justice was so musical. Which is what I love about it — it's songs. You will not find the EDM structures in Justice's music. Barely. It was still so good-sounding. I couldn't live with the fact that someone could sound so good, and I had no clue how to do that. And I didn't know anything about production in the electronic world. So I started figuring it out, and I wanted to sound like Justice. I wanted to know how to do that.
Were Daft Punk an inspiration to you as well?
They were. One of the most important ones, looking back. Because I was in a rock phase: jazz, funk, rock. Deep Purple, Rainbow, that kind of old stuff. And then I heard "One More Time," when they released the single in Germany. I didn't like electronic music at all; there was nothing that made me want to listen to it. But I loved that song so much, so I went to a record store like, "I'm going to listen to that album." And they had little stations where you can grab headphones and you can preview an album. I just listened to the entire album in a row, and I was like, "Whoa! This is so different!"
I bought the record and listened to it hundreds of times. I was obsessed with it. And then went on with my rock phase: I listened to a lot of Feeder. And years later is when I heard Justice and was like, "It reminds me of that Daft Punk vibe." But the sounds were way better: It was more mature, the production was much more advanced at that time. And I was like, "Fuck, I need to do this myself!" And then I met Skrillex.
How'd you and Skrillex connect?
The reason I got in touch with him is because I was working on a song. It was before "complextro," which was a subgenre of electronic music that had a boom five or six years ago. Before that happened, I had this idea of putting a million sounds and making them connect. I was like, "Oh, I think I've got something no one's done before." I was working on the song, and randomly I saw a Skrillex remix online, and I clicked it and it was that thing but way better than I had done it. I was like, "Damn, I thought I had something no one's ever done before!"
I messaged him and was like, "Listen, dude, electronic music, the majority isn't musical, you got it. You understand the music." And I sent him a two-minute clip of that song that wasn't finished. He heard it, was like, "Dude, this is so awesome, send me the full song. I'm gonna play it tonight."
Skrillex was huge at that moment — I can't believe he replied to me a couple minutes later. It turned out it was random: He hadn't checked the messages for months. He checked it a minute after I sent the message, and mine popped up all the way to the top. He listened to that, biggest luck ever, and that's how we got in touch.
Read: Why EDM Needs To Raise Its Standards And Try Harder
Every Skrillex show I've been to has been amazing. When you're trying to translate your music to a live performance, do you model it off what he does?
I used to be a drummer in a metal band. I did my own thing, I had earplugs on, I heard nothing, I was in my world. But then starting DJing, you're the frontman. My English was really bad when I started touring because I got my visa in 2011. So I came to the States and my English was really broken. Skrillex is like, "You've got to talk to the crowd." I was like, "Oh, I can't do this — I'm not confident." He's like, "You're here because of me, I brought you here, you've got to talk to the crowd." I was like, "Oh . . ." I started watching him doing it every night.
It came to the point where we played a tour in Mexico. He had his new production, he had his new team, and I watched the show. And I know he's doing it live, because I know him, but the production was so on point — it was unbelievable. It was the first time I realized you can be perfect live. Because I thought you had to pre-program a show to be tight. But it is possible: The lighting guy had pedals, used every finger possible. That was the inspiration for my tour. Now we have a cable running to the front of house guys, so they see my screen. Whenever they hear the song coming, they know, "OK, got to recall 'this song, red color.'"
Do you find you're getting more collaborative with this level of success?
It's easier: I can reach out to more people. Like back then, people would be like, "I don't want to work with a DJ." Where now, people are like, "This is a musician, not a DJ." I was asked to produce a country album, and if my album didn't take months longer than I expected it to take, I would have produced it. And I would have loved to see where it ended.
Working with Lada Gaga for example, made me learn to collaborate, because she's a musician too. I got really lucky that every collaborator really trusted my vision, even if it was outside of their comfort zone. Echosmith doesn't make music like what we did together. Logic doesn't. Every single person I worked with trusted my vision, and at the point where we recorded vocals, the songs weren't always done. Sometimes they were really raw. It was like, just trust me. I'm not gonna do anything that's not great.
Follow Zedd on Facebook | Twitter
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Meta-analysis: the efficacy of nootropic agent Cerebrolysin
in the treatment of Alzheimer's disease
Wei ZH, He QB, Wang H, Su BH, Chen HZ.
Department of Pharmacology and Biostatistics,
College of Basic Medical Sciences,
Jiaotong University, Shanghai, China.
J Neural Transm. 2007 Feb 23;
To determine the therapeutic effect of nootropic agent Cerebrolysin on patients with mild to moderate Alzheimer's disease (AD), we searched the Cochrane Library, Medline, PubMed, and Chinese Biomedical Literature Analysis and Retrieval System for Compact Disc (CBMDISC), and communicated with EBEWE Pharmaceutical Ltd, for randomized trials comparing Cerebrolysin with placebo in AD. Available data on clinical global impression, cognitive performance and activities of daily living were extracted from 6 randomized double-blind placebo-controlled clinical trials and combined with standard meta-analysis methods. An infusion with Cerebrolysin for 4 weeks (30 ml Cerebrolysin daily on five consecutive days of each week) led to a significant improvement of the clinical global impression. Compared with placebo, log(OR) was 1.1799, and 95% confident interval was 0.7463-1.6135 (P < 0.05), indicating that Cerebrolysin could significantly improve the clinical global impression in patients with mild to moderate AD. However, more convincing evidences are needed for the efficacy of Cerebrolysin on the cognitive performance and activities of daily living.
N-PEP-12
Hydergine
Centrophenoxine
Cerebrolysin, the dentate gyrus and new brain cells


Release Date : Since October 12, 2009 on TV Tokyo in Japan.
This show is based on the popular manga series of the same name by Hiro Mashima. The story follows Lucy, a young wizard who wants to join the Fairy Tail Guild. She soon encounters Natsu, a Fairy Tail member and practitioner of the ancient Dragon Slayer Magic, as well as his partner Happy, a magical talking cat. After accepting Natsu's offer of membership into Fairy Tail, Lucy and Natsu team up to undertake various missions.
Wendy and Charle find Erza and Jellal together. When Zero was firing Nirvana at Caitshelter, one of its legs got destroyed and misses the guild. The Blue Pegasus, Christina is back and is being held up by Lyon, Sherry, and Ren. Hibiki tells them how to stop Nirvana: destroy all 6 legs at the same time and he downloads the locations of the lacrima into their minds. Ichiya, Erza, and Jellal have only 20 minutes to destroy it. The three cannot keep hold of Christina and it is losing altitude. With encouragement, Natsu, Lucy, and Gray finally stand up and agree to go to a lacrima to destroy it. Natsu goes to Lacrima 1 where Zero is and attacks. Jellal regains memories on Natsu and goes to Lacrima 1. It ends with Jellal hitting fire at Natsu and smiling.


text:
Die United States Open Chess Championship (kurz U.S. Open Chess Championship, in der Schachszene schlicht die US-Open, ) ist ein offenes Schachturnier, das seit 1900 in den USA in jedem Jahr ausgerichtet wird. Nicht verwechselt werden darf sie mit der United States Chess Championship, einem Einladungsturnier, das seit 1936 stattfindet.

Geschichte
Organisiert wurde die US-Open in ihren ersten Jahren durch die Western Chess Association, danach, von 1934 bis 1938, durch deren Nachfolgerin, die American Chess Federation. Ab 1939 bis heute wird das Turnier durch die United States Chess Federation (USCF) ausgerichtet. Zunächst, als die Teilnehmeranzahl noch gering war, wurde sie als Rundenturnier durchgeführt. Ab 1947, bedingt durch die Zunahme der Spielerzahlen, wurde das Schweizer System eingeführt. Danach, in den 1960er- und 1970er-Jahren, waren 12 oder 13 Runden zu absolvieren, für die etwa zwei Wochen angesetzt waren. Ab etwa dem Jahr 2000 sind es zumeist neun Runden in neun Tagen.

In den 1950er- und 1960er-Jahren stiegen die Spielerzahlen weiter an, so im Jahr 1953 von 181 über 1957 mit 184 und 1961 mit 198, dann 1963 auf 266 Teilnehmer. Einen Teilnahmerekord gab es 1983 mit 836 Spielern, zu denen auch der zweifache Vizeweltmeister Viktor Kortschnoi gehörte, der es zusammen mit GM Larry Christiansen gewann. Ab etwa dem Jahr 2000 sank die Attraktivität dieser US-Meisterschaft etwas ab und die Anzahl der Spieler stabilisierte sich bei etwa 400 bis 500 Personen. Auch die Preisgelder haben sich seit den 1960er-Jahren verändert. Im Jahr 1962 war der erste Platz mit 1000 $ dotiert. Im Jahr 2016 beliefen sich die Preisgelder auf insgesamt 40.000 $, wobei der Sieger 8000 $ erhielt.

Turniersieger
{| class="sortable wikitable"
! # !! Jahr !! Ort !! Sieger !! Bemerkungen
|-
| 1 || 1900 || Excelsior (Minnesota) || Louis Uedemann
|-
| 2 || 1901 || Excelsior (Minnesota) || Nicholas MacLeod
|-
| 3 || 1902 || Excelsior (Minnesota) || Louis Uedemann
|-
|
|-
| 84 || 1983 || Pasadena (Kalifornien) || Larry Christiansen, Viktor Kortschnoi
|-
|
|-
| 100 || 1999 || Reno (Nevada) || Alex Yermolinsky, Alexander Goldin, Eduardas Rozentalis,Alexander Shabalov, Gabriel Schwartzman, Michael Mulyar
|-
| 101 || 2000 || Saint Paul (Minnesota) || Alex Yermolinsky
|-
| 102 || 2001 || Framingham (Massachusetts) || Aleksander Wojtkiewicz, Joel Benjamin,Alexander Stripunsky, Fabian Döttling
|-
| 103 || 2002 || Cherry Hill (New Jersey) || Gennadi Zaichik, Jewgeni Najer
|-
| 104 || 2003 || Los Angeles || Alexander Shabalov
|-
| 105 || 2004 || Fort Lauderdale (Florida) || Alexander Onischuk, Rodrigo Vásquez, Aleksander Wojtkiewicz,Ildar Ibragimov, Andranik Matikozian, Renier González, Marcel Martinez
|-
| 106 || 2005 || Phoenix (Arizona) || Vadim Milov, Joel Benjamin
|-
| 107 || 2006 || Oak Brook (Illinois) || Yury Shulman
|-
| 108 || 2007 || Cherry Hill (New Jersey) || Boris Gulko, Sergey Kudrin, Ben Finegold, Alexander Shabalov,Michael Rohde, Michael Mulyar, Anton Paolo Del Mundo
|-
| 109 || 2008 || Dallas || Alexander Shabalov, Rade Milovanović, Enrico Sevillano
|-
| 110 || 2009 || Indianapolis || Dmitry Gurevich, Sergey Kudrin, Alex Lenderman, Alex Yermolinsky, Jacek Stopa, Jesse Kraai
|-
| 111 || 2010 || Irvine (Kalifornien) || Alejandro Ramirez
|-
| 112 || 2011 || Orlando (Florida) || Alex Lenderman
|-
| 113 || 2012 || Vancouver (Washington) || Manuel León Hoyos, Dmitry Gurevich, John Daniel Bryant
|-
| 114 || 2013 || Madison (Wisconsin) || Joshua Friedel, Mackenzie Molner, Julio Sadorra
|-
| 115 || 2014 || Orlando (Florida) || Conrad Holt
|-
| 116 || 2015 || Phoenix (Arizona) || Alexander Shabalov
|-
| 117 || 2016 || Indianapolis (Indiana) || Alexander Shabalov
|-
| 118 || 2017 || Norfolk || Alex Lenderman
|-
| 119 || 2018 || Middleton|| Timur Gareyev
|-
| 120 || 2019 || Orlando (Florida)|| Illja Nyschnyk
|}

Weblinks
 118th Annual U.S. Open Chess Championship (englisch) abgerufen 4. Dezember 2017
 US Open Tournament Index (englisch) abgerufen 4. Dezember 2017

Einzelnachweise

Schachturnier
Schachwettbewerb in den Vereinigten Staaten
Erstveranstaltung 1900

redpajama_set_name: RedPajamaWikipedia