At first it was just Bitcoin, then we also got Ethereum and Ripple. They are cryptocurrencies, they do not exist but represent one of the most popular assets of the moment. Let's point out a few points and tips to invest best on them.
A cryptocurrency is a digital asset that is used as a mode of exchange through encryption to make transactions secure and control the creation of new currency.
While there are hundreds of different cryptocurrencies, most of them are derived from one of two protocols: Proof-of-work or proof-of-stake. All cryptocurrencies are maintained by a community of 'miners' who are members of the same audience who have established through their computers a participation, validation and processing of transactions.
Ethereum (Ξ), released in 2015 and whose concept is to give small programs (decentralized applications or smart contracts) on the blockchain.
The king of cryptocurrencies is Bitcoin and all the other created after that (i.e., altcoins) were just an imitation/alternative to Bitcoin.
Since the cryptocurrencies exist in the internet, governments or banks have no control on them.
Everything is predetermined (there is a Bitcoin maximum roof, which is about 21 million), and it is virtually impossible to alter the value of Bitcoin.
They can be transferred faster than normal banking transactions as they move among users as a real international transfer.
The cryptocurrencies market is as unstable as it is expanding. The highly variable price allows traders to make big gains in a short time.
By being directly linked to the Internet, the security factor plays a very important role in cryptocurrencies trading.
Cryptocurrencies are very safe due to two factors: the first is due to the difficulty of finding bugs in hash sets, a task done by "miners". The second (the most likely one) is a "51%" attack. In this scenario, a miner that has the power to extract more than 51% of the network can take control of the global blockchain network and create an alternative blockchain. But the hacker will be limited because it could only reverse its transactions or block other operations.
Anonymity is also a sign of high security. All cryptocurrencies are pseudo-anonymous, and some coins have added functionality to create more anonymity.
Cryptocurrencies are traded on the most popular trading platforms such as Plus500, eToro, Markets.Com , etc.
Until recently, buying bitcoin was very complex and only the most experienced could speculate on bitcoins, but now they entered fully in the world of legal investment.
Cryptocurrencies represent a big and real chance of profit, especially easy to grasp for those who are not experienced. To achieve this goal without risk, however, it is really important to choose the right tools.


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Our editor in chief on how to build a better business
Tyler Brûlé on the latest addition to the Monocle stable.
World at your feet
Whether they're grand business behemoths or single-person start-ups, there's no one-size-fits-all solution when it comes to entrepreneurs. We've traversed the globe and searched across industries to bring you the stories of where, how and why people have decided to go it alone.
Born to do it
From a blue-sky thinker to a master fashion brand builder, we meet the founders, owners and CEOs who have navigated the rocky road to success and are only too happy to share directions.
Rip up the business plan
The start-up landscape is always shifting and the latest crop of business owners will surprise you. We meet the people who are changing the game and look at the countries, age groups and sectors reshaping business.
Friends in the north
You don't need a city to start a business. A new generation of greenfield entrepreneurs are planting the seeds of clever companies in the likes of the East Neuk of Fife.
This is what success looks like
Will quitting the nine-to-five to be your own boss mean never having to work into the weekend again? Or will it mean never getting home before midnight? We caught up with eight successful entrepreneurs on a Friday evening to find out whether their end-of-day agendas involve cocktails or spreadsheets.
20 ideas to steal
Where are the new fronts for investment? Is it possible to park your money somewhere that does a bit of good in the world and makes a tidy profit? We've done the legwork for you and spoken to 20 business leaders and entrepreneurs around the world to find out where they would invest next. From airport food to art, they've got plenty of ideas for your portfolio.
They found a gap
Have you ever come across a product and said to yourself, 'I wish I'd thought of that'? We all have but successful businesses aren't always the result of a groundbreaking idea or revolutionary technology. The key is knowing your market and finding a solution to a problem within it. We get some pointers from people who have done just that, from a cyclist offering the chance to ride like a pro to the creators of a debit card that miaows
From a baking school helping to cook up a business plan to an arts retreat that will get those creative juices flowing, we pull up a chair at some of the best courses on offer.
The name game
Hit upon that golden idea for a business? Great. Now what is it going to be called? From getting it right to getting it very wrong (Thai Tanic), the name you choose for your company goes a long way towards defining its success.
Smarter art
The image of the starving artist, or the musician with nothing to show for their efforts other than a million YouTube fans and an overdraft, is well established. But, as these entrepreneurs show, there are ways to make creativity pay – without having to sell out.
Follow the leaders
There's truth to the adage that too much advice can be a dangerous thing, which is why we've decided to focus on words of wisdom from six people who know what they're talking about. So before you go it alone, enjoy some esteemed company.
20 books in 20 words
It's a crowded – and potentially profitable – space but do such tomes really teach us anything that we don't already know? We take a look at 20 books (some old, some new; some serious, some less so) and summarise them in exactly 20 words.
From a rooftop barbecue in Vienna to breaking bread with the neighbours in the Copenhagen district you designed, eating at work doesn't have to mean a sad sandwich served in the glare of a screen. We meet seven companies– big and small – to find out why sharing a meal can profit everyone.
From a cosy town in eastern France to easygoing Hiroshima, we've visited three compact cities with nature on their doorsteps that offer big business potential and quality of life.
Furniture isn't just about how your office looks – it's also about how it feels. Choosing warm materials, striking pieces and plush upholstery will show the world that you mean business.
The actual space in which you work plays a key part in any company's story; find somewhere that reflects your values, get the details right and think of the future. Here's our rulebook.
The New York Wardrobe
The rise of trainers and hoodies as acceptable clothing for the workplace, in the West at least, has seen sales of suits and ties decline. But is the blurring of workwear and casual wear necessarily a good thing?
Follow suit
In many offices dress codes have become relaxed. But whether they're sporting casual kit or are suited up, guys still want to look sharp for their jobs. These brands are doing fine business by catering to working men.
Don't dress for the job you have; dress for the job you want. So the old adage goes. But don't forget the finishing touchers; when it comes to looking the part, the little things make a big difference.
Creative businesses / Global
Marc Tan,
Dan Wilton,
Ben Roberts,
Eugeny Vanov,
Nicholas Albrecht
The screen queen
Independent cinemas in Asia often struggle to turn a profit. But for one former real-estate investment banker, reconfiguring a disused cinema in Singapore into a thriving cultural destination has been much more than a personal passion project.
The Projector, Singapore
Singapore-born Karen Tan studied architecture and economics, then worked as a real-estate investment banker in London for several years before moving back to Singapore in 2010. That's when she started Pocket Projects, a consultancy working to conserve Singapore's heritage buildings by redeveloping and repurposing them for creative uses.
In 2014, Tan and her two business partners came across a disused cinema on the fifth floor of the city's famous Golden Mile Tower. They decided to reconfigure it and turn it into what's now The Projector. As well as showing a bold programme of films, the building also hosts a co-working space and a café, which ensures that the space is never underused.
"I wanted it to contribute to the city by creating a cultural space that is about openness and diversity," says Tan. "In these days of increasing segmentation online, physical spaces where people from different interest groups can come together in a relaxed fashion are more important than ever."
theprojector.sg
The gallery go-getter
Making a success of a small gallery is difficult: low profit margins and a limited market of potential buyers mean that many ventures struggle. But by applying an innovative funding model, Pablo Berástegui has found an approach that works both financially and creatively.
Salut au Monde, Porto
Before opening photographic gallery Salut au Monde, Spaniard Pablo Berástegui held a raft of senior cultural management positions in his home country. As well as working as CEO of the San Sebastián 2016 European Capital of Culture programme, he spent four years heading Madrid's cultural venue Matadero and seven years running the city's annual PhotoEspaña festival.
"I was working on large, complex projects and felt that the moment had arrived for something more personal, where I have more control," he says. "I was managing big teams and big budgets but I was moving further away from the artists. With Salut au Monde I'm involved in the whole process, from curating the exhibitions and installing the work to distributing the promotional postcards."
The precarious nature of funding in the cultural sector means that even big-name institutions struggle with cash flow; Berástegui's solution was to develop a strategy based on subscriptions rather than sales. He is recruiting 100 people to support Salut au Monde with an annual contribution of €400; in return they receive a print from each of its four yearly exhibitions. "The idea is that people who like photography, or share my values and want to support me, can get involved for a small investment," he says. "It's about being part of a community that supports something interesting."
The model certainly has benefits from a curatorial perspective. "I can take chances on what I exhibit and show the work I really like, instead of worrying about what sells well or having to work with big-name photographers because they attract media attention," says Berástegui. "I am focusing on up-and-coming photographers rather than established names so we can help people get their work seen."
His advice to entrepreneurs is to be patient. "You need to give things time to blossom. It's taken longer than I expected but it's important not to be too nervous about success. Important things take time; if you are committed and believe in your vision, success will come."
salutaumonde.info
The culture vultures
The Cultivist is an art-lovers' club where members pay an annual subscription in return for access to exhibitions, private tours, tailored trips and visits to artists' studios. We meet the co-founders who will stop at nothing to grant people's cultural wishes.
The Cultivist, US & UK
Marlies Verhoeven and Daisy Peat (both pictured, Verhoeven on left) had been working on auction house Sotheby's vip programme for years when they realised that there was a wider public who wanted to enjoy similar privileges to top-level collectors. The Cultivist, the company they founded in 2015 after raising $1.5m from private investors, is a membership-only club devoted to meeting art lovers' needs.
For $2,500 a year (€2,200 in Europe), members get fast-track entry to more than 150 museums and institutions around the world – from the Guggenheim to Lacma – and access to more trade fairs than they could feasibly fit into a travel schedule. Then there are the extras: members can call in and request private tours of exhibitions led by experts at as little as a day's notice. A roster of more than 200 Cultivist-organised events in New York, London, San Francisco, Brussels and Paris every year provides ample networking opportunities, while members can also visit artist studios in whichever city they happen to be visiting.
For the first year the pair capped the number of members at 1,000 but the community has now expanded to include a few more thousand. "We wanted slow growth," says Peat. "We didn't want to grow too rapidly and didn't want to advertise." Yet what began as a six-person team has evolved into a 20-person operation with offices in London, New York, Shanghai, Los Angeles and Brussels with a network of 40 collaborators on the ground in various cities around the world.
While most members are collectors, some artists and curators are also on the list. "These people are time-poor so we do the homework for them," says Peat. "We often say that they don't need us but we do make everything a lot easier." The fact The Cultivist does not have a commercial edge also allows the team of programmers to recommend whatever they feel is best, without pressures to encourage any sales.
Despite relying primarily on membership fees for revenue (some corporate partnerships are in place too), the model took off pretty quickly. Activities have also expanded to provide art-trips (pre-organised or bespoke) to less-explored art cities from Bogotá to Beirut.
"If you're going to Rome, let us know the dates and we will let you know what exhibitions you should go to, whether they are at museums or commercial galleries," says Peat. "But we'll also tell you what little chapel you should visit to see an amazing fresco."
thecultivist.com
The host with the most
By going without government support and refusing to collaborate with brands that don't align with her mission, Anastasia Yefimova has pulled off quite a feat with Richter, her culture centre-cum-luxury hotel that's right in the heart of Moscow.
Richter, Moscow
"It's about a collective vision and collective action," says Anastasia Yefimova, founder and co-owner of Richter. It's easy to see what she means. In a city where setting up a truly independent cultural centre is no easy feat, she's embarked on a mammoth project. Located in a stately 19th-century mansion in the heart of Moscow's historic city centre, Richter (named after the building's original architect, Fyodor Richter) combines a library, magazine shop, recording studio, contemporary-art gallery and print shop with a luxury hotel, restaurant and vermouth bar.
"We want to create a community of people who realise that you must pay for good art and good service," says Yefimova. That's a radical departure from the way that cultural institutions normally work in Russia: even independent museums and galleries often depend on the authorities for their survival and have to toe the official line as a result. "Most people simply didn't believe we could pull this off without government support, corporate money or connections in high places," she says.
But Yefimova dug into her savings and managed to draw together a small group of investors who believed in her idea. Several big brands, including bathroom specialist Laufen and Dornbracht and Italian furniture company Zanotta, donated furniture and art objects, while a handful of architects and designers helped out for free during the building's extensive remodelling and renovation. "All this assistance really slashed our costs but when we had to pay for something ourselves, we didn't skimp," says Yefimova. "Part of Richter is a five-star hotel – but it's also a platform for artists to create and communicate. And good design stimulates creativity."
Above all, Yefimova says, Richter is about creating "a self-contained experience". Because Richter's hotel guests tend to be artists and creatives, they take advantage of the in-house facilities.
This marriage of hospitality and culture is Yefimova's driving principle. Her other project in town, the Brick Design Hotel, features paintings by Soviet-era artists in its rooms and lobby. With Richter she decided to take things one step further. Most of the complex's revenue comes from the hotel and restaurant but this helps sustain a cultural programme that includes concerts, talks, performances, DJ sets and exhibitions. Art manager Daria Kravchuk recently curated an exhibition by photographer Katya Turkina in the backyard. "Let's hope that Richter will create a dynamic new ecosystem of creative spaces in Moscow – an ecosystem that will be rooted in the creative economy in this time of political and financial uncertainty," says Kravchuk.
That uncertainty looms large over Russia's cultural sector but Yefimova says she'll never collaborate with brands or organisations that clash with her mission. "We know our audience and we know where we are headed. We are the first such space in Russia and I'm sure we'll continue to attract like-minded sponsors and donors."
richter.moscow
The melody maker
When musician Jack Conte blew all his money making a YouTube video, he hit upon an idea for a crowdfunding platform to finance artists, writers and musicians. Six years on, Patreon is helping nigh on 100,000 creators around the world to make a living.
Patreon, San Francisco
In 2013, Jack Conte (pictured, seated on left), who was then a musician with a sizeable YouTube following, maxed out two credit cards. He had spent three months and more than $10,000 staging an elaborate music video. "I had a horrible feeling when I realised I was going to upload the completed video on YouTube, get a million views and make $150 in ad revenue."
Nowadays the 35-year-old is ceo of Patreon, a membership platform that allows fans ("patrons") to finance artists, writers and musicians with a monthly payment. Patreon, in turn, takes 5 to 12 per cent of the donations as a fee. "People in Silicon Valley see art as information and they think all information should be free – but it's not free to have ideas and execute them," says Conte. "What if I asked my fans for $5 or $10 a month, in return for my music, to be members of me?"
Patreon now has a roster of more than 100,000 creators, three million patrons and 200 employees; the team are integral to the business's success. And the collective goal? "If we don't figure out a fair system to pay the people who fill the web with the stuff we read, listen to and watch then everybody's going to lose," says Conte.
patreon.com

redpajama_set_name: RedPajamaCommonCrawl


From advanced surgical techniques to sports medicine expertise…from workplace injury to common fractures…from backs and hips to elbows and wrists.
Regardless of your orthopedic concern, your situation or your age, you have an entire team of experienced physicians and top-notch staff working for your health—close at hand.
Discover more about Central Nebraska Orthopedics & Sports Medicine. And call today for your appointment with a member our talented team.
We accept most all insurance plans including, BC/BS of Ne, United Health Care, Coventry, Aetna, Midlands Choice, among others.
In an historic series, The World-Herald selected Nebraska's Top 100 athletes.
The Top 100, selected in 2005, came from a pool of more than 450 names from the ranks of high school, college, amateur and professional sports from the past 130 years.
Our congratulations go to Dr. Phil Cahoy in recognition for his achievements.


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The Film Review
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Delicacy – Review
April 11, 2012 January 5, 2014 Leah Harper Amélie, Audrey Tautou, David Foenkinos, Delicacy, Francois Damiens, french films, La Delicatesse, Mad Men, One Day, Pio Marmai, rom-com, Stéphane Foenkinos
It's quirky, it's French, it's Audrey Tautou – what could possibly go wrong? Well, quite a few things, as it turns out…
Delicacy follows the story of Nathalie (Tautou) who is so loved up it's almost unbearable. Her cutesy romance with Francois (Pio Marmai) involves kissing outside cafés, twirling in the snow, and planning to start a family. Her dreams are shattered, however, when Francois is tragically killed in a car crash. Distraught Nathalie throws herself into office work – having given up what looked like a much more enjoyable job selling programmes at a theatre. All plods along fairly unremarkably until Nathalie impulsively decides to throw herself at her Swedish colleague Markus (François Damiens), who himself appears somewhat unremarkable. From here, a timid but predictable romance develops, as Nathalie gradually gets her love-life back on track, and a bemused Markus generally can't quite believe his luck in having somehow impressed such a beautiful co-worker.
The real problem with Delicacy is not the fact that it's undeniably formulaic and saccharine throughout, but that is struggles to balance its comic and tragic elements. Sitting squarely in the shadow of quirky classic Amélie, the film desperately wants to be a mildly eccentric rom-com, while at the same time giving a sensitive portrayal of the rather inconvenient death which occurs about twenty minutes in – although, admittedly, it manages to evade any obvious One Day comparisons. By refusing to take a blasé or black-humoured approach to the subject matter, the pace is inevitably slowed by all the sadness and never quite picks up again.
That said, teeny-tiny typecast Tautou shows she's still got her comedic touch in some brilliantly scripted moments of office-based comedy with larger-than-life Belgian comedian Damiens – which are genuinely funny, if not a little over-familiar these days. Yet it's a shame there is little resolution to the shallow reactions of Nathalie's friends and colleagues, who appear to disapprove of her unconventional choice of man.
For all its flaws, Delicacy does present an intriguing insight into how and why unlikely romances can occasionally blossom. For heartbroken Nathalie, the choice between her suave successful, good-looking boss, who wines and dines her under the guise of celebrating her promotion, and the awkward and clumsy Markus, is not a difficult one. The less-than-obvious attraction of her unlikely suitor is subtly demonstrated in a parallel dinner date, in which Markus takes her to a tacky Chinese restaurant, where she laughs at the bad food and his terrible jokes. He is not charming, but he is kind and genuine – the safe option – bringing a touch of realism to this wildly whimsical tale.
The film does itself no favours by being inexplicably bizarre at times – directing duo, Stéphane and David Foenkinos, are perhaps a little overly ambitious with some dream sequences that tend to miss the 'kooky' mark by miles. Nathalie's boss is also guarded by a needlessly sexy Mad Men -style secretary, whose pouting and wiggling may well amount to a joke that is simply lost in translation. Worst of all, the film leaves you with the slight sense of dread that Markus might be the one to have his heart broken next time around. It's hard to say why, but the 'feel-good factor,' which should be slathered on with a film like this, somehow seems to be spread a little thin – a little too delicately, perhaps.
Delicacy - Review, 2.0 out of 5 based on 1 rating
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War Dogs – Review
September 12, 2016 David Simpson Comments Off on War Dogs – Review
I haven't had more fun at a movie in 2016 than I did while watching War Dogs. This movie is
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August 22, 2016 David Simpson Comments Off on Star Trek Beyond – Review
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Ind vs Aus 3rd Test: Wrong shot or bad luck? Virat Kohli: India versus Australia, Ind versus Aus third Test: Aaron Finch, on the bearing of the Third Man, put a conclusion to Kohli's innings of catch. Just 18 keeps running behind the 26th century in the Virat Test.
Kohli was 82 not out on the second day of the third test coordinate among India and Australia in Melbourne. The commander of Team India who is out playing the ball is stating something incorrectly, some trust that the shot was great, however the fortunes was awful. Kohli was out in the Indian innings in 122.5 overs. Kohli hit an upper cut on Mitchell Starc's conveyance. Aaron Finch, on the third man's side, finished the innings with Kohli gotten by Kohli. Just 18 keeps running behind the 26th century in the Virat Test.
With the helpful commitment of Cheteshwar Pujara's seventeenth Test century and other batsmen, India pronounced on Thursday the second day of the third test coordinate on the MCG's troublesome pitch, here on Thursday, to end their first innings at 443 keeps running for seven wickets. Australia made a simple begin in this answer and scored eight keeps running without misfortune toward the second's end day's play. He is as yet 435 keeps running behind India.
Indian opener Pujara (106) hit a century and skipper Virat Kohli (82), Mayank Agarwal (76) and Rohit Sharma (63 not out) were the half-hundreds of years. Pujara and Kohli shared a 170-run association for the third wicket. Rohit then scored two helpful associations with Ajinkya Rahane (34) and 62 with Rishabh Pant (39). Pat Cummins was Australia's best bowler. He took three wickets for 72 runs. Mitchell Starc took two for 87 while Josh Hazlewood and Nathan Lyon took one wicket each.


Opera released a brand new version of the Opera browser for Android. Unlike the previous version that ran on the Presto engine, the new version was running on the more ubiquitous WebKit engine and also brought with it several new features and a new UI.
The browser is now finally out of beta stage and available for download on the Play Store. The new engine is fast and responsive and works well across websites better than the old engine. The new features include a new tab mode that shows thumbnails of your tabs on top of the page, new speed dial mode that allows you to rearrange your speed dials and even put them in folders, off-road mode that compresses data significantly before sending it to your device, automatic text wrap, improved download manager, customizable navigation bar that can be docked at the top or the bottom of the screen and a discover mode for finding curated content right in the browser without having to go look for it.


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redpajama_set_name: RedPajamaGithub


Self-service obituaries and death notices offer newspapers a streamlined process to dramatically increase revenue in both print and web products. A complete proof and final pricing, either rated by linage or by the inch, is instantly available for the funeral home director or the family member's approval. Once completed and approved, the notice is exported for printed publication and uploaded to Legacy.com or EverTalk. Funeral homes and family members have typically found preparing obituaries a time-consuming and intimidating process. However, with APT's new self-service portal, both funeral directors and family members have quickly embraced this streamlined process of creating obituaries and death notices.
Uses same pricing table as in-house orders. No need to maintain a separate pricing table.
For further information or to request a product demonstration, please contact Joe Kennedy at jkennedy@advpubtech.com or 818-557-3035 x124.


Posted May 30th, 2016 by Jenny & filed under Uncategorised .
Have you been hearing and seeing a lot of microblading on social media lately? Microblading has been growing fast across the semi permanent makeup industry over the past few years and is now becoming very popular for technicians and clients. After 5 years of being qualified in tattooing, I was intrigued to find out more about it. I like to keep as up to date as much as possible with all treatments, especially semi permanent makeup, as it is ever growing and fast becoming a very popular treatment.
After completing my Medical and Elite days with Karen Betts and Nouveau contour, I felt that it was time to extend my menu in this field as you can never stop learning!
So I booked myself onto Rebecca Chung' s training in London in February. Rebecca is an international master trainer in microblading and I must say I was very impressed with her and her amazing work. The course was designed for experienced semi permanent technicians, which is always great to meet other techs and share skills whilst also thoroughly enjoying the course. I learnt so much more about tattooing and this new technique, that I couldn't wait to bring it back to the salon!
Microblading is a form of semi permanent makeup using a hand held tool manual technique. Traditional semi permanent makeup is performed using a machine. I still use and enjoy both techniques. With Microblading you can produce a very natural hairstroke or feathered eyebrow with fine and crisp strokes. These hairstrokes heal more crisp in the skin as there is no vibration from a machine technique used. So if you are looking to enhance your brows but still want a natural look then microblading may be for you! I've added a few pictures below which are also in the gallery for you to see the results. Semi permanent makeup is bespoke to you and is discussed and created together so suit you and your face.


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Mild Cartoon Violence
Pokemon Mystery Dungeon Red Rescue Team is rated 4.3 out of 5 by 21.
What would happen if one day you woke up to find out you've been turned into a Pokémon? Interact with many different Pokémon on various missions while trying to uncover your true purpose and destiny in this engrossing story of adventure, redemption and, most of all, friendship. Players can choose a Pokémon, and then choose another Pokémon to be their partner. Numerous Pokémon can become friends with the player and can be called upon to join his or her rescue teams. Assuming the role of a Pokémon, the player converses with other Pokémon for the first time using engaging graphics with various Pokémon expressions.
Rated 5 out of 5 by Monochromatic from I love this game to the full extent that it offers I have had this game for eleven years strong and I never fail to come back to it and enjoy the plot and features. The break you get from the normal Pokemon games is surprisingly refreshing, and it's all worth the playtime to get up to that certain level to beat the next boss. It can get a little frustrating, but overall it is best if you learn a good and easy strategy to use. It has very wholesome moments and great graphics for its time. You're bound to love the interactions between character to character, and you will likely hold this game in your heart for a long time and revisit it every so often (if you like these types of games, of course). I would definitely reccomend this game to anyone who is considering playing it. Its definitely up there in my list of favorites.
Rated 4 out of 5 by BlueNebelung from Fun game Bought this game in 2016. I wanted to get it after playing Blue Rescue Team, and while it's not much different in comparison, ( Besides maybe the music and certain Pokemon you can find in dungeons. )I still enjoyed it;Being able to recruit and play as all sorts of Pokemon, buying friend areas, engaging in the story, and exploring different dungeons was pretty fun, so I would recommend this product to any Pokemon fan who wants to try out the first Mystery Dungeon game in the series.
Rated 5 out of 5 by Flame1000573238743 from Amazing The game is so cool,bacuse of the level one dungeon.
Rated 5 out of 5 by thankyou11 from great game!!! just like i remember! so much fun !! i got it because i wanted more games for my gba and rememebred liking this one and it did not dissapoint !
Rated 1 out of 5 by Dave6947 from Bought this game a month ago, it arrived on time, but it didn't work. Put it in my Gameboy, it didn't show up. Put it in my DS Lite, didn't show up. tried all sorts of things for probably 15 minutes, but nothing worked.
Rated 5 out of 5 by b01Griffin from A Timeless Classic Still as charming, touching and clever as I remember it to be. Also just as frustratingly unforgiving @escort missions @lv.1dungeons
Rated 5 out of 5 by JazzieGirl from Super cute and fun! :D I played this game a few years ago, and it was so adorable. Original story, great start to the game too. This game is pretty addicting. I did play the sequel to this game too. It was alright but this one is my favorite of the two. Is it worth the $10 Absolutely! Get this game. :)
Rated 5 out of 5 by OsazetheAssassin from The best pokemon spin off This game has many elements of the original trainer games, but is VERY VERY different. So if you don't want different, stop reading and don't get this game, because you'll be sorely disappointed. However, it is a very good game in itself. This game can be challenging and the legendaries can be a pain to get, but this gives you a truly rewarding feel when you get your favorite legendaries on your team. Don't care about all the hype for legendaries? Well, besides the 10 exclusives to red and blue, you can get ALL 386 pokemon from Kanto, Johto, and Hoenn. The story itself can get really sappy at times, but I thought that it was great. This game makes it feel as if the pokemon are truly your partners, because you can talk to them and give them names. Overall, this game is surprisingly amazing, and will give you HOURS UPON HOURS of fun and enjoyment
Pokemon Mystery Dungeon Red Rescue Team Reviews - page 2
Was this game ever made for the 2DS/3DS or only GBA?
Asked by: jenjenn
Only for GBA and has not in any form been released again by Nintendo, this game can be played on the original DS, fan named as DS phat, and DS Lite via the GBA slot on those, but at same time as this game, a Pokemon Blue Rescue Team game for DS was released, that is playable on DS systems I just mentioned and the 2DS/3DS. Blue Rescue can be bought from GameStop
Answered by: wpbgamer
Is this game for a Gameboy or DS
Asked by: TLCl3
The game is for the "Gameboy Advance" by Nintendo. A regular DS should be able to play the game, however, a 2DS or 3DS model will NOT be able to play the game.
Answered by: HHHH1


Read what others liked and disliked about their property.
"My husband and I have found the comments made by people who have stayed in these rentals to be a critical element in our decision-making process. They have often been the determining factor in our choosing one place over another.
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text:
Calcium Light Night és una peça musical del compositor estatunidenc Charles Ives. És un dels seus Cartoons or Take-Offs i està gravat per a flautí, clarinet, corneta de vàlvules, trombó, bombo i dos pianos (quatre intèrprets). (Ives va suggerir en una nota del manuscrit que aquesta instrumentació es pot ampliar mitjançant l'ús d'instruments addicionals.) El 1912 o 1913, Ives va agrupar Calcium Light Night amb cinc peces més per fer el conjunt núm. 1 per a conjunt de cambra. La peça representa un esdeveniment que té lloc al campus de la Universitat Yale que WE Decrow descriu bé al seu llibre, Yale and the "City of Elms".
Els temes principals de la peça són les cançons de la societat "And again we sing thy praises, Psi U., Psi U.!" i "A band of brothers in D.K.E., we març along tonight." Les melodies comencen silenciosament i lenta i construeixen un clímax sorollós a mesura que els dos grups d'estudiants creuen els camins de l'altre, i després retrocedeixen a la forma en què van començar en una espècie de reculada.

El ballarí danès i coreògraf Peter Martins van usar aquesta partitura per a marcar el seu debut coreogràfic amb el Ballet de Nova York. Es va estrenar a Seattle, Washington, el 1977, com a part d'un concert de gira organitzat per Martins mentre encara era ballarí principal del Ballet de Nova York. L'obra va tenir la seva estrena en el Ballet de Nova York el 19 de gener de 1978, en el Teatre de l'Estat de Nova York. Els directors de NYCB Heather Watts i Daniel Duell van ser els primers a ballar.

Referències

Obres de Charles Ives

redpajama_set_name: RedPajamaWikipedia


text:
'use strict';

/*
 * Mostly taken from lodash.
 *
 * @module Basics/Helpers
 * @static
 * @memberof module:Basics
 */
var Helpers = {};
var $ = require('./jquery');
var deleteFromArray = require('./deleteFromArray');

// Lang helpers

/*
 * See https://lodash.com/docs#isEqual
 * @method isEqual
 */
Helpers.isEqual = require('lodash/isEqual');
/*
 * See https://lodash.com/docs#isObject
 * @method isObject
 */
Helpers.isObject = require('lodash/isObject');
/*
 * See https://lodash.com/docs#isArray
 * @method isArray
 */
Helpers.isArray = require('lodash/isArray');
/*
 * See https://lodash.com/docs#isString
 * @method isString
 */
Helpers.isString = require('lodash/isString');
/*
 * See https://lodash.com/docs#isNumber
 * @method isNumber
 */
Helpers.isNumber = require('lodash/isNumber');
/*
 * See https://lodash.com/docs#isBoolean
 * @method isBoolean
 */
Helpers.isBoolean = require('lodash/isBoolean');
/*
 * See https://lodash.com/docs#isFunction
 * @method isFunction
 */
Helpers.isFunction = require('lodash/isFunction');
/*
 * See https://lodash.com/docs#cloneDeep
 * @method cloneDeep
 */
Helpers.cloneDeep = require('lodash/cloneDeep');

/*
 * See https://lodash.com/docs#clone
 * @method clone
 */
Helpers.clone = require('lodash/clone');

/*
 * See https://lodash.com/docs#isEmpty
 * @method isEmpty
 */
Helpers.isEmpty = require('lodash/isEmpty');

// Function helpers

/*
 * See https://lodash.com/docs#bind
 * @method bind
 */
Helpers.bind = require('lodash/bind');
/*
 * See https://lodash.com/docs#delay
 * @method delay
 */
Helpers.delay = require('lodash/delay');
/*
 * See https://lodash.com/docs#debounce
 * @method debounce
 */
Helpers.debounce = require('lodash/debounce');

// Object helpers

/*
 * See https://lodash.com/docs#extend
 * @method extend
 */
Helpers.extend = require('lodash/extend');
/*
 * See https://lodash.com/docs#omit
 * @method omit
 */
Helpers.omit = require('lodash/omit');
/*
 * See https://lodash.com/docs#values
 * @method values
 */
Helpers.values = require('lodash/values');

// Array helpers

/*
 * See https://lodash.com/docs#last
 * @method last
 */
Helpers.last = require('lodash/last');
/*
 * See https://lodash.com/docs#head
 */
Helpers.first = require('lodash/head');
/*
 * See https://lodash.com/docs#compact
 * @method compact
 */
Helpers.compact = require('lodash/compact');
/*
 * See https://lodash.com/docs#uniq
 * @method uniq
 */
Helpers.uniq = require('lodash/uniq');
/*
 * See https://lodash.com/docs#intersection
 * @method intersection
 */
Helpers.intersection = require('lodash/intersection');
/*
 * See https://lodash.com/docs#union
 * @method union
 */
Helpers.union = require('lodash/union');
/*
 * See https://lodash.com/docs#without
 * @method without
 */
Helpers.without = require('lodash/without');

// Collection helpers

/*
 * See https://lodash.com/docs#each
 * @method each
 */
Helpers.each = require('lodash/forEach');
/*
 * See https://lodash.com/docs#filter
 * @method filter
 */
Helpers.filter = require('lodash/filter');
/*
 * See https://lodash.com/docs#includes
 * @method includes
 */
Helpers.includes = require('lodash/includes');
/*
 * See https://lodash.com/docs#find
 * @method find
 */
Helpers.find = require('lodash/find');
/*
 * See https://lodash.com/docs#map
 * @method map
 */
Helpers.map = require('lodash/map');
/*
 * See https://lodash.com/docs#sortBy
 * @method sortBy
 */
Helpers.sortBy = require('lodash/sortBy');

// String helpers

/*
 * See https://lodash.com/docs#capitalize
 * @method capitalize
 */
Helpers.capitalize = require('lodash/capitalize');

/*
 * Check if two arrays are equal.
 *
 * @method isArrayEqual
 * @param {Array} a
 * @param {Array} b
 * @deprecated use `Helpers.isEqual` instead.
 */
Helpers.isArrayEqual = function(a, b) {
  if (a === b) return true;
  if (a === null || b === null) return false;
  if (a.length != b.length) return false;
  for (var i = 0; i < a.length; ++i) {
    if (a[i] !== b[i]) return false;
  }
  return true;
};

/*
 * Removes all occurrence of value in array using Array.splice
 * I.e., this changes the array instead of creating a new one
 * as _.without() does.
 *
 * @method deleteFromArray
 * @param {Array} array
 * @param value
 */
Helpers.deleteFromArray = deleteFromArray;

/*
 * Clones a given object.
 * Uses obj.clone() if available, otherwise delegates to _.cloneDeep().
 *
 * @method clone
 * @param {Object} obj
 * @return The cloned object.
 */
Helpers.deepclone = function(obj) {
  if (obj === null || obj === undefined) {
    return obj;
  }
  if (Helpers.isFunction(obj.clone)) {
    return obj.clone();
  }
  return Helpers.deepclone(obj);
};

/*
 * Alias for {{#crossLink "Helpers/cloneDeep:method"}}{{/crossLink}}.
 * @method deepClone
 */
Helpers.deepclone = Helpers.cloneDeep;

/*
 * Web helper to compute the relative offset of an element to an ancestor element.
 *
 * @method getRelativeOffset
 * @param {jQuery.Selector} $element
 * @param {jQuery.Selector} $ancestor
 * @return An object with properties
 *   - top: Number
 *   - left: Number
 */
Helpers.getRelativeOffset = function ( $element, $ancestor ) {
  var pos = $element.offset();
  var ancestorPos = $ancestor.offset();
  pos.left -= ancestorPos.left;
  pos.top -= ancestorPos.top;
  return pos;
};

Helpers.uuid = require('./uuid');

Helpers.serializeDOMElement = function($el) {
  var $tmp = $('<div>');
  $tmp.append($el.clone());
  return $tmp.html();
};

Helpers.request = function(method, url, data, cb) {
  var ajaxOpts = {
    type: method,
    url: url,
    contentType: "application/json; charset=UTF-8",
    // dataType: "json",
    success: function(data) {
      cb(null, data);
    },
    error: function(err) {
      console.error(err);
      cb(err.responseText);
    }
  };

  if (data) {
    ajaxOpts.data = JSON.stringify(data);
  }

  $.ajax(ajaxOpts);
};

module.exports = Helpers;


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text:
12:00 AM - 5:00 AM | 630CHED
630CHED on Facebook 630CHED on Twitter
Santas Day raises $283,690 in support of 630 CHED Santas Anonymous
Radio - 630CHED
By Kirby Bourne	630CHED
Posted November 30, 2020 7:00 pm
Updated October 18, 2021 9:36 am
1:46 Santas Day encourages Edmontonians to give cash donations to 630 CHED Santas Anonymous
Tuesday is Santas Day, in support of 630 CHED Santas Anonymous. The charity needs cash donations more than ever because of difficulties around taking toy donations. CHED is holding a radiothon to ensure every child receives a new toy at Christmas. Morgan Black explains the impact the organization has had on one Edmonton father – Dec 1, 2020
630 CHED helped raise $283,690 for 630 CHED Santas Anonymous on Tuesday as the organization looks to raise money to ensure every child has a gift under the tree this year.
Tuesday was Santas Day on 630 CHED. One of the highlights of Tuesday's fundraising effort was a $100,000 donation from the Buchanan Family Foundation.
The day also featured stories from long-time volunteers, past recipients and board members on 630 CHED airwaves.
"This year it's more important than ever," executive director Lana Nordlund said. "We need to have something to look forward to, everybody does, and especially children.
"The thought of not having a new toy or a new gift to open up Christmas morning can be absolutely devastating for a child and can also be devastating for the parent who can't afford to do so."
Tweet This Click to share quote on Twitter: "The thought of not having a new toy or a new gift to open up Christmas morning can be absolutely devastating for a child and can also be devastating for the parent who can't afford to do so.<em>"</em>
Read more: Sherwood Park Cub Scout collects more than $15K worth of toys for 630 CHED Santas Anonymous
Santas Day replaced the traditional auction format that was started years ago. With the ongoing COVID-19 pandemic, the usual format didn't make sense. Most of the auction items were experience packages that wouldn't be possible to do these days.
So Santas did what so many charities have been doing this year and adapted its plan.
"This one, I think, is going to be actually more exciting because everybody is going to participate. Whether you can give $10 or whether you bought an auction item before and paid thousands for it, everybody can participate in this particular event," Nordlund said.
5:13 630 CHED Santas Anonymous updates on how the campaign is going
630 CHED Santas Anonymous updates on how the campaign is going – Nov 15, 2020
"Now more than ever, the need for groups like 630 CHED Santas Anonymous is clearly in front of all of us," Corus regional program director John Vos said. "Like so many, Santas has been hit by the pandemic and its associated challenges. That why Santas Day on 630 CHED is so central in raising dollars and helping Edmonton children."
Santas Day ran from 7 a.m. to 7 p.m., and there were four power hours through the day where donations were matched.
During 630 CHED Mornings with Chelsea Bird and Shaye Ganam, Leading Edge Physiotherapy matched all donations up to $5,000. Donations up to $3,500 were matched by Danielle's SOS Bookkeeping Services from 9 a.m. to 10 a.m. with Danielle Smith.
During 630 CHED Afternoons with J'lyn Nye, Sentinel Storage matched donations from 2:30 p.m. to 3:30 p.m. and Sky Eye Measurement matched donations from 5 p.m. to 6 p.m. Both companies has committed to matching up to $5,000 worth of donations.
Read more: 630 CHED Santas Anonymous opens for season with new COVID-19 protocols
During power hours, donations made by phone or online were matched.
"Edmonton and the surrounding communities come through time and time again, and we are hoping that they do again," Nordlund said ahead of Santas Day.
While Santas Day has come to an end, donations are always accepted on the Santas website.
5:14 630 CHED Santas Anonymous needs donations
630 CHED Santas Anonymous needs donations – Dec 1, 2020
Santas Anonymous tag630 CHED Santas Anonymous tagEdmonton Charity tagSantas Day tagSantas Day 630 CHED tagHow to donate to Santas Day tagSantas 630 CHED tag


text:
Lauren Sanchez's Brother Michael Talks About His Role in the Ongoing Battle Between Bezos and AMI
He says, 'The truth will come out."
By Liz Cantrell
Jean-Paul AussenardGetty Images
In the week following Jeff Bezos's now-infamous Medium post accusing AMI of threatening to publish intimate photos of him and his girlfriend Lauren Sanchez, if he did not end his investigation into the company, attention has turned to her brother Michael Sanchez.
Several media outlets are reporting that he leaked private information to AMI.
Michael Sanchez is denying the claims that he is the leak.
In a series of interviews released today, Michael Sanchez—the brother of Lauren Sanchez, the woman whom Jeff Bezos is currently dating—spoke about his role in the brewing scandal over Bezos's accusation that the National Enquirer blackmailed him in order to stop his investigation into how the paper obtained the couple's intimate photos and texts.
Sanchez continues to deny that he was the one who supplied the Enquirer with the private exchanges, claiming to Vanity Fair that, "my only goal has been to protect Jeff and Lauren." He also said he had served as an advisor to the couple over the last year.
Patrick Whitesell, Lauren Sanchez, and Jeff Bezos in 2016.
Todd WilliamsonGetty Images
"They were talking marriage," Sanchez said. "The three of us had discussed before that, at some point, this was going to be a scandal." He also said that Lauren Sanchez shared photos with her friends (which was confirmed by other news sources) but that he "never had access."
Still, multiple publications have reported that Sanchez is responsible for the leaks. Two people with knowledge of the situation confirmed to CNN that Sanchez was the leaker, while the Daily Beast reported that "multiple sources inside AMI" named Sanchez.
Jeff and MacKenzie Bezos in 2018.
JORG CARSTENSENGetty Images
The Beast went a step further, reporting that Sanchez had a history of supplying information on his clients to AMI. Two sources familiar with the situation said that, "when Sanchez was representing former liberal Fox News commentator and current attorney Tamara Holder, he would routinely suggest strategy that appeared to undermine his own client and often verge on erratic." He allegedly also suggested that they leak information to Radar Online, one of AMI's outlets.
Lauren Sanchez, Patrick Whitesell, and Casey Affleck in 2017.
Kevin Mazur/VF17Getty Images
Still, Michael Sanchez continues to defend himself, as well as his sister Lauren and Bezos. "The truth will come out about my motivations and how much I believe in Jeff and Lauren's love," Sanchez said. "It's a legendary romance that will blow your mind as to just how in love they are. "
Liz Cantrell Assistant to the Editor in Chief Liz Cantrell is the assistant to the Editor in Chief of Town & Country, covering arts and culture, and has previously written for Esquire.
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text:
Consumer confusion about precautionary allergen labeling underscores need for governmental guidance
By Elizabeth Crawford contact
05-Feb-2021 - Last updated on 05-Feb-2021 at 15:19 GMT
Source: Getty/Akchamczuk
Related tags: Allergy, Allergen
New research revealing the depth of consumer confusion about allergen labeling underscores a need for clearer, more consistent labeling about the presence of allergens or the risk of cross-contamination in food and beverages, and bolsters support for stricter labeling regulations and legislation, according to the Food Allergy Research and Education NGO.
According to a new study published in the Journal of Allergy and Clinical Immunology: In Practice, less than a quarter of 3,008 participants could correctly answer four questions about precautionary allergen labeling (PAL), such as "may contain" or "manufactured on shared equipment."
"These results suggest that [food allergy] consumers are not aware of PAL policies," which are voluntary in the US, write researchers led by Ruchi Gupta, a pediatrician and director of the Center for Food Allergy & Asthma Research at Northwestern University Feinberg School of Medicine and Ann & Robert H Lurie Children's Hospital of Chicago.
Currently, in the US, manufacturers only need to label when ingredients include "top allergens," such as peanut, tree nuts, milk, egg, wheat, soy, fin fish, and crustacean shellfish. However, some voluntarily add PAL – although the wording and how it is displayed varies as it is not mandatory.
"The lack of specific governmental policy results in inconsistent labeling practices and confusion," the study concludes.
While there is not currently a legislative push to mandate PAL or an industry movement to standardize it, the research suggests some wording may be more effective than others.
"When asked about their shopping habits, the majority of respondents never purchase products with a "May contain traces of allergen" label (85.5%) in comparison with never purchasing products with "Good manufacturing practices used to segregate ingredients in a facility that also processes allergen" label (35%)," the study reports.
It adds respondents' top preferences for precautionary allergen labeling include "Not suitable for people with 'blank' allergy" (29.3%) and "May contain" X allergen or traces of X allergen (22.1%). More than a third of respondents also prefer for PAL to appear on the front of the package and below the ingredient list.
Based on these findings, the researchers note consumers "prefer having clearer, more specific and consistent labeling on products, indicating that explicit PAL policies are needed to allow customers to easily identify safe foods."
The findings bolster the need for stricter legislative and regulatory requirements around allergen labeling, argues FARE.
"The issues is critical for those with food allergy. It needs to be an absolute top priority for policy discussions and is necessary to improve the safety of consumers with food allergy," Anita Roach, VP of Health Innovation Strategies and Corporate Ventures at FARE, said in a statement.
Recent legislation designed to expand allergen labeling failed to be signed into law during the last legislative cycle, despite 11th hour unanimous approval by the US House of Representatives in November and the US Senate in December.
The Food Allergy Safety, Treatment, Education and Research Act would have required that sesame be labeled on food products as a ninth top allergen. FARE notes that it will pursue the reintroduction of the legislation in both chambers during the first 100 days of the legislative cycle.
The NGO also encourages stakeholders to voice their support for voluntary sesame labeling guidance published by FDA in November before the comment period expires Feb. 25.
Related topics: Manufacturers, Markets, R&D, Regulation, Food labeling and marketing, Health & Wellness, Carbohydrates and fibers (sugar, starches), Cereals and bakery preparations, Dairy-based ingredients, Fruit, vegetable, nut ingredients, Meat, fish and savory ingredients
Sesame allergies: Lack of clear labeling linked to higher occurrence of reactions
President Biden signs FASTER ACT into law making sesame the ninth major food allergen
FARE hails Senate vote on adding sesame to 'big 8' allergen list, accelerating process it claims might otherwise take 'years'
Grupo Bimbo makes minority investment in allergy-friendly Rule Breaker Snacks
Solutions for Navigating Starch Supply Challenges
CP Kelco | 29-Nov-2022 | Technical / White Paper
Starch is relied on for thickening, water-holding or moisture control, texture, and mouthfeel, so replacing it can be a challenge.
Pectin's "a-peeling" future
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Familiar, plant-based, highly functional… today's pectin ticks off a lot of boxes for consumers and product developers alike. Learn how this humble...
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By IFF Constant cravings: Making plant-based foods a daily choice


text:
World Architecture Festival announces call for entries for third edition of The Architecture Drawing Prize
The World Architecture Festival (WAF) has announced the call for entries for the third edition of The Architecture Drawing Prize, conceieved to celebrate and showcase the art and skill of architectural drawing.
Launched in 2017, the prize embraces the creative use of digital tools and digitally produced renderings, while recognising the enduring importance of hand drawing, inviting entries of all types from technical or construction drawings to cutaway or perspective views.
Architects, designers, and students from around the world can enter the prize across various categories including hand-drawn, digital, and hybrid, or a combination of the two. This year also sees the introduction of a new category: the detail drawing, supporting entries from architects with a passion for working details.
Submissions across the four categories will be evaluated on the basis of their technical skill, originality in approach and ability to convey an architectural idea. Drawings can be entirely speculative or relate to real projects.
This year's judges include artists Langlands and Bell (Ben Langlands and Nikki Bell); Ken Shuttleworth (Make Architects); Narinder Sagoo (Foster + Partners); Jeremy Melvin (World Architecture Festival); Owen Hopkins (Sir John Soane's Museum London) plus Manuelle Gautrand (Manuelle Gautrand Architecture); Christian Schittich (DETAIL) and Gary Simmons (William Hare Group).
"Drawing has long been the practice that differentiates architecture from all other practical ways of making buildings. When informed by rigour and intelligence, it remains one of the most important ways of inventing and representing architectural ideas - and making them discussable. The drawing prize is an integral and vital part of WAF's mission," said Jeremy Melvin, curator of WAF.
The winners and shortlist will be announced in October, and then go on display at a dedicated exhibition at the Sir John Soane's Museum in London in January 2020. The category winners will each receive a delegate pass and two nights in a hotel during the World Architecture Festival in Amsterdam, 4-6 December 2019. They will be invited to participate in an event on the Festival Stage at WAF, and receive tickets to the Gala Dinner.
"Drawing in architecture is undergoing a renaissance as practitioners seek new modes of representation beyond the confines of the slick hyper-realistic render. In this new guise, drawing is emerging as a vital tool in developing architectural ideas and disseminating them online or in print. Now in its third year, the Architecture Drawing Prize celebrates the renewed importance of drawing and the diversity of approaches that define it," said Owen Hopkins, Sir John Soane's Museum.
In 2018 the prize attracted entries from 31 countries across the globe, showing the truly international nature of the prize. Of the entrants, 55% were architects, 12% were designers and 33% were students. Over 50% of entries, and over 60% of the shortlisted entries were submitted by entrants aged 30 and under.
The prize has been created in partnership with Make Architects and Sir John Soane's Museum.
For full details on how to enter the Architecture Drawing Prize visit: https://thedrawingprize.worldarchitecturefestival.com
THE ARCHITECTURE DRAWING PRIZE
Architects from the Middle East announced as judges for WAF 2019
MENA projects shortlisted for the 2018 World Architecture Festival Awards
Sheltainer and Ataturk Culture Centre by Tabanlioglu Architects win WAFX Prize for addressing societal challenges
Dubai-based Amkna Design Studio's cultural centre in Senegal has been shortlisted for WAF 2018


text:
Q: Grouping common attributes in GridView Alright, so I have a database and a ASP.NET using C# as the code behind. What I'm having trouble with is getting the asp GridView to display the database query like I need it to. Here is some sample information:
I have users, groups, projects, and permissions. Currently the output looks like this:
John    JohnsGroup1
John    JohnsGroup2
Eric    EricsGroup1

With every permission and user having its own row.
What I want is to group all of a user's groups into one cell like this:
John    JohnsGroup1
        JohnsGroup2
Eric    EricsGroup1

Here is my query running from code behind:
"select Users.name, Groups.name from Users join Permissions on Users.ID = Permissions.userID, Groups where Groups.ProjectID = " + projID + " and Groups.type = '3' and Permissions.groupID = Groups.ID order by name";

Any ideas? I'm trying to avoid looping through the data after it's queried to sort it.

redpajama_set_name: RedPajamaStackExchange


Ben Stirling and Sean Mackie have joined Berwick Rangers on Development Loans until 11 January 2017.
Ben, 17, can operate in several positions, including centre-back and central midfield and has been a long-time member of the Hibernian Youth Academy, as well as a Scottish international at under-17 level.
Sean joined Hibernian in February 2016 from Raith Rovers and became a regular in the Hibernian Development Squad. The 17-year old is equally adept at playing at left-back, as well as on the left-wing.
Both will remain eligible to play for the Hibernian Development Squad during their loan spells at Shielfield Park with John Coughlin's side.


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Older in design than the sash window the wooden casement is a side or top hinged/opening window originating in the Tudor period. As the box sash window started to dominate period facades casements were confined to provincial cottages though found a place where Victorian and Georgian window apertures were particularly small. Casements are probably the most common window worldwide and in the UK dominated housing stock from the late 1930's.
Modern handles and stays are now available though you might remember the old iron 'pig-tail' handles that were used in the period. For some inspiration take a look at our selected window furniture here.
made in the traditional way in our joinery in South London. We've selected our casement hardware from the best British and Italian manufacturers and these are available in a wide choice of metallic finishes from antique brass to satin chrome for a more contemporary feel.


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Axle to Axle - 28"


Angry Brigade, Documents and Chronology Shows some extent of the armed struggle that was carried out in Britain in the late sixties and early seventies, reproposing the validity of armed attack against capital in all its forms.
The eight libertarian militants on trial in the Old Bailey in 1972 who were chosen by the British State to be the `conspirators' of the Angry Brigade, found themselves facing not only the class enemy with all its instruments of repression, but also the obtusity and incomprehension -- when not condemnation -- of the organised left.
The problems encountered by the comrades of the Angry Brigade were similar to those of other groups active at the time who had refused the limits of struggle delineated by the State -- the so-called limits of legality, beyond which the repressive mechanism is is unleashed -- and taken as their points of reference the level of mass struggle. This decision was in defiance of the State's definition of the struggle's confines. It also defied the limits imposed by the official workers' movement and the extraparliamentary organisations, including the anarchist movement. The Symbionese Liberation Army in the US, the RAF in Germany, the first of the Red Brigades in Italy, were all isolated by the `revolutionary' organisations, condemned as agitators, provocateurs, individualist terrorists threatening the growth of the mass movement.
On the attitude to the SLA, Martin Sostre was to write in America: "The denunciation of the SLA by the movement press is indistinguishable from that of the ruling class. Each left organisation seems to be competing with the others for their legitimacy by denouncing the SLA...Conspicuously absent from the denunciations is any discussion of the role of armed struggle. Revolutionary violence is seen as something repulsive that should be shunned. The left movement press would have one believe that to overthrow the criminal ruling class we have merely to organise mass movements, demonstrations of protest and repeat revolutionary slogans."
One such paper in this country -- the Trotskyist Red Mole -- distinguished itself by calling for solidarity with the comrades accused in the Angry Brigade trial. With the following reservation -- "It is no use the organised left criticising the politics of the Angry Brigade, unless we also recognise why a lot of potentially very good comrades reject the various leninist organisations, and indeed resort to bomb-throwing -- until you are caught -- by itself an easy option that does not deal with the problem of helping to change the political understanding of millions of people." Understandable enough in view of the Leninist programme. But from the anarchist perspective? We read on the front page of a fairly recent issue of Freedom, "Even the bombing campaign carried out by the Angry Brigade which was technically brilliant...achieved absolutely nothing because, in direct contradiction with their spoken ideals, they were trying to act as an elite vanguard leaving ordinary people as passive spectators of their actions. Far from this resulting in an `awakening' of the masses' it resulted in a fear of anarchism and anarchist ideas which has significantly contributed to our current impotence."
In fact the movement of the exploited is not and never has been one monolithic mass, all acting together with the same level of awareness. The struggle against capital has from the beginning been characterised by a dichotomy between the official workers' movement on the one hand, with its various organisations -- parties, unions, etc, channelling dissent into a manageable form of quantitive mediation with the bosses. And on the other hand, the often less visible movement of `uncontrollables' who emerge from time to time in explicit organisational forms, but who often remain anonymous, responding at individual level by sabotage, expropriation, attacks on property, etc, in the irrecuperable logic of insurrection. There is no distinct or fixed dividing line between the two movements. They often affect each other, the surge from the base obliging the big official organisations to take a certain direction, or the inverse, where the latter put a brake on autonomous struggles. Many of those who make up the mass of union membership, are also extremely active in extra-union (and by definition extra-legal) forms of struggle. Each side, however, has its own heritage: on the one a heritage of deals and sell-outs, the great victories that are real defeats on the workers' backs; on the other, a heritage of direct action, riots, organised insurrections or individual actions which all together form part of the future society we all desire, and without which it would be nothing but a utopian dream.
A brief look at the development of the struggle in this country shows this duality quite clearly. The organised anti-capitalist movement as we know it today began to take shape at the beginning of the nineteenth century. Unlike the other European capitalist countries developing at the same time, there was only a minor communist influence both at organisational and ideological level. Traditional British anti-intellectualism and `common sense' were perhaps fundamental to a more pragmatic form of organisation which took the form of trades unions. These unions were from the start reformist, although at times, through pressure from the base, some knew insurrectional moments. The changes the unions proposed were however usually intended to come about using non- violent methods within the constitutional limits.
During and immediately preceding this period there also existed forms of autonomous revolt, such as that of the many artisans in the textile industry who, under threat of losing their jobs or of being reduced to non-specialised labourers, organised in armed groups. The most significant of these insurrectional movements was that known as Luddism, which took place between 1810-1820. During this period an immense amount of property was destroyed, including vast numbers of textile frames redesigned to produce inferior, shoddy goods. The Luddites, taking the name of Ned Ludd who had taken a sledge hammer to the frames at hand, organised themselves locally and even federally with great coordination, and in spite of vast deployments of soldiers especially in West Riding and Yorkshire where the movement was strongest, generalised insurrection was approached on more than one occasion. As John Zerzan points out, this was not the despairing outburst of workers having no other outlet, as a long tradition of unionism was in existence among textile workers and others prior to and during the Luddite uprisings.
In the early 1830's it was the turn of agricultural workers become casual labourers to organise in the `army' of Captain Swing, a mythical figure adopted as a symbol of the farmworkers who burned ricks and barns, threatening their oppressors -- farmers, vicars, justices of the peace alike -- with the same fate. Where the Luddites were extremely organised, the Swing men lacked secrecy. Nineteen of them were hanged (sixteen for arson), 644 jailed, and 481 deported to Australia.
While the unions were working to develop industry along with the bosses, the base were developing different, uncontrollable forms of struggle such as go- slows, wildcat strikes, sit-ins, etc. For example, of the 421 strikes in the docks at the beginning of the sixties, 410 were unofficial. These same workers had already experienced troops being moved into the docks by a Labour government, and TGWU officials giving evidence against their own members ten years before.
The politics of everyday life -- organising around one's own oppression, trying to overcome the division between workers and students, between men and women, forming groups around precise problems as opposed to under political banners -- was in full development. A vast movement of claimants, squatters, feminists, etc, emerged expressing not the Right to Work but the Refusal of Work, not employing the waiting tactics of unionist education but taking, Here and Now, what was being refused, and refusing what was being offered. A critique of the nuclear family as a firm bastion of capitalist power led to many experiences of communal living. This movement in all its complexity, not so much a students movement, but a widespread one comprising of young workers, students and unemployed, could be called the libertarian movement of the time.
This movement was comprised of autonomous groups acting outside the stagnant atmosphere of the traditional anarchist movement with its own microscopic power centres which, as Bakunin so astutely pointed out, are just as nefarious as any other power structure. A parallel can therefore be drawn between the dichotomy within the workers movement, and that which exists within the anarchist movement. On the one hand there are the comrades who hold positions of power, not carrying out any precise activity to contribute to the revolutionary consciousness of the mass, but who spend their time presiding over meetings and conferences aimed at influencing younger comrades through the incantation of abstract principles. These principles are upheld as the only true tenets of anarchism, and are adhered to by those who, either by laziness or weakness, accept them acritically. The manifestations of these islands of power usually take the form of publications that are long standing and repetitive. They have the external semblance of an `open forum' for the use of the movement as a whole, but the basic ideology -- that of conservation and stasis -- is filtered through from behind the flurry of `helpers' carrying out the task of `filling' and physically producing the publication. These publications are the first to condemn autonomous actions that take their points of reference from the illegal movement of the exploited. They are the first to denounce them, accusing them of bringing police repression down on the anarchist movement. In their reveries they have forgotten that repression always exists, and that only in its most sophisticated form creates the peaceful graveyard of acquiescence, where only ghosts are allowed to tread. Many of the most forceful of recent social rebellions have been fired and spread by the popular response to police repression.
By their actions the Angry Brigade also became a part of that spectacle, but a part that took form in order to contribute to its destruction. Their actions as presented here find a place therefore not as some old commodity to be taken out and dusted, then put back on the shelf like a relic that belongs to the past. The work they carried out -- and which five libertarians paid for in heavy prison sentences -- is a contribution to the ongoing struggle which is changing form as the strategies of capital change in order for it to restructure and preserve itself. A critical evaluation of the Angry Brigade must therefore take place elsewhere than on the sterile pages of this pamphlet. It must take place in the active considerations of a movement that has a task to fulfil, and that does not take heed of the condemnation and defamation by those whose ultimate aim is to protect themselves. Many problems are raised by a rereading of the actions and experiences of the Angry Brigade -- clandestinity or not, symbolic action or direct attack, anonymous actions or the use of communiques to be transmitted by the media -- to name but a few. The pages that follow help to highlight these questions, whose solution will only be found in the concrete field of the struggle.


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