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Stranger on My Land (1988)
Tagged: Eminent domain, Second amendment
A rancher resists the seizure of his land by the Air Force. [ Stranger on My Land credits: Dir: Larry Elikann/ Tommy Lee Jones, Dee Wallace Stone, Ben Johnson/ 94 min/ Drama/ Eminent Domain, Second Amendment]
Eminent domain—the right of government to seize private property for public use—was originally intended for emergencies but is used today for even the most routine purposes. In this film, it's invoked to seize a private home against the will of its very reasonable occupants.
In particular, the rancher at the center of this tale is approached by the Air Force with an offer to buy his land. When he turns it down, he is told that if he doesn't sell "voluntarily," his land will be taken anyway but at a lower price. It isn't clear what the Air Force wants the land for; and even when the rancher takes the Air Force to court, it won't elaborate. In court, the Air Force just says it wants the land for "national security reasons" and wins on that basis. In the end the rancher, a former Marine, decides to follow his conscience instead of the law and forcibly resists. The confrontation embarrasses the government, and the rancher wins a new day in court, though it isn't clear what the final resolution is going to be.
This is, of course, an optimistic read on the situation. In real life, the feds would attack with overwhelming force, and the rancher and his family would be instantly killed. After all, if there's one job the feds are good at it's killing. And, of course, the idea that the press or any other non-combatant would be allowed to witness the conflict is out of the question.
In any case, Stranger on My Land is a sympathetic portrayal of someone attempting to resist an unjustified expropriation of private property, and it has some Second Amendment content. The country-accented Tommy Lee Jones was a good pick for the lead, and some of the smaller parts are also well played. It's a B picture in some respects, but it's certainly worth watching.
"Stranger on My Land exalts some traditional right-wing values, such as property rights and the right to bear arms to defend that property. Yet it also mollifies liberals by questioning the necessity for an expanded missile base."
More Films About: Eminent Domain
More Films About: Second Amendment


Heads Up Festival's 12th season will take place from March 27-30 at various venues, including Hull Minster, Hull Central Library and Kardomah94.
This season's artistic programme includes The Paper Cinema's Macbeth (March 29 & 30), Now Is The Time To Say Nothing (a collaboration between Syrian film-maker Reem Karssli, a group of young Londoners and artist Caroline Williams, on March 28-30) and Olivia Furber, Ramzi Maqdisi, 9T Antiope and Hannah Mason's The Land's Heart Is Greater Than Its Map (March 29 & 30).
This season also sees the first play by Hull's controversial 'twitter influencer' and filmmaker Dave Lee. Lee's The Orchidian takes place at Kardomah 94 on March 27.
The festival, delivered in partnership with Battersea Arts Centre and part of the Collaborative Touring Network, will also provide free workshops to schools in the city of Hull.
Following their critically acclaimed show The Paper Cinema's The Odyssey, the company re-imagines Macbeth as a cautionary tale for our times. With typical charm, wit and invention the company will take the Hull Minster audience on a journey through rugged Scottish landscapes to encounter storms, battles, betrayal and murderous plot.
Shakespeare's tragedy is brought to life as beautifully drawn puppets, evocative music, foley and cinematic projection combine in a captivating silent film created before your eyes.
Now Is The Time To Say Nothing, which will take place at Hull Central Library, is an interactive sound and video installation exploring the role of screens in observing global conflicts. The show is a provocation against armchair passivity.
Olivia Furber, Ramzi Maqdisi, 9T Antiope and Hannah Mason's The Land's Heart Is Greater Than Its Map is created with the support of Villa Waldberta and Meta Theater. Audiences are invited on an alternative guided tour of a city where the truth is stranger than fiction: you can see the sea but are forbidden to touch it, being honest is illegal and those with ancestors from the city are forbidden to enter it. This intriguing piece of work is presented in Kardomah 94.
Festival producers E52 said: "This is the twelfth season of Heads Up Festival. The festival has been in existence for six years. That's quite an achievement. During that time we've consistently brought work of the highest artistic excellence to the city of Hull, including productions and performances by Kaleider, Jess Thom, Theatre Ad Infinitum, Theatre Conspiracy, non zero one, Victoria Melody, Berkavitch, Conrad Murray and Will Dickie, and look forward to welcoming this season's artists and theatremakers to Heads Up.
"We have demonstrated that we are about bringing the very best work to the city, presenting that work in unique surroundings, and playing a big part in the development of new pieces of work, both nationally, internationally and more locally.
Heads Up Festival is produced by E52 in partnership with Battersea Arts Centre.
Be the first to comment on "Heads Up clocks up a dozen festivals"


When running under Perl 5.6, the extended white space characters are not recognized as white space.
This class represents a regex character set.
These were introduced in Perl 5.17.8, and documented as experimental and subject to change. If changes introduced in Perl result in changes in the way PPIx::Regexp parses the regular expression, PPIx::Regexp will track the change, even if they are incompatible with the previous parse. If this functionality is retracted and the syntax used for something else, PPIx::Regexp will forget completely about regex character sets.
At some point, the documentation started calling these "Extended Bracketed Character Classes", and documenting them in perlrecharclass.
This class supports no public methods over and above those supported by the superclasses.


I've been playing with beef and ettercap, and I've been able to dns spoof my test machine into clicking on my beef hook, and I get a message in the beef log that a zombie has connected and gives some useragent info about it, but the zombie never appears in the zombie column on the left (or in the zombies menu, sometimes localhost will only show up there).
I've had this problem with both chrome and firefox as the victim browser, I get the feeling this is something simple but I can't figure it out, anyone seen this before?
BeEF is a browser exploitation framework. This tool will demonstrate the collecting of zombie browsers and browser vulnerabilities in real-time. It provides a command and control interface which facilitates the targeting of individual or groups of zombie browsers.


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The Right to Rise? Ok!
…schooling than almost any other advanced country - twice as much as 20 years ago - even as social mobility appears to have slowed. Life chances seem to be mostly set in the first 5 years, if not the first 2. That's where leaders who are serious about the "right to rise" should be focused. At a…
Written by David Frum on Monday December 19, 2011
Vaclav Havel Was a Champion of Freedom
…Cuba for the elimination of human rights and self-government. He also supported the removal of the tyrant Saddam Hussein. His greatest impact is on Central Europe. Not only did he become the last President of Czechloslovakia but the first of the Czech Republic. The Velvet separation of those…
Written by John Vecchione on Sunday December 18, 2011
Vaclav Havel Wrote to Make Europe Free
…end result of "keeping it short" was a 256-page interview account entitled Disturbing the Peace: A Conversation with Karel Huizdala , which was published in 1991. Havel was never a man who would opt for the short, concise, condensed and sweet account, which lacked authenticity and…
Written by Robin Tim Weis on Sunday December 18, 2011
Watch: Frum on Question Time
On December 1st, David Frum participated in an episode of BBC's Question Time. The episode focused on strikes that were taking place in England, and it has since been uploaded to YouTube:
Written by FrumForum Editors on Sunday December 18, 2011
How the '90s Became the 2000s
…in the 1990s myself. People in my age group -- the tail end of "Generation X" (born from 1975 through 1980) -- are a funny lot. We were too young to be a part of what is now recognized as "Generation Jones", the in-betweeners of the Boomers and their children (e.g. President Obama, Bret…
Written by Telly Davidson on Saturday December 17, 2011
Why Cameron's EU Veto Made Sense
…help of existing Union organs, no doubt ultimately grown to the large task. So Britain played the only cards it had, and still could successfully defend the City with a little give-and-take on fiscal matters. No wonder even the most opportunistic coalition or opposition British politicians…
Written by Jeff Cimbalo on Friday December 16, 2011
Watch: Frum and Hitchens on C-Span
In David Frum's remembrance for Christopher Hitchens, he notes that the first time he viewed Hitchens as a friend was when they appeared on C-Span together: [A] few weeks later, I had my own face-to-face encounter with him. strong> We were guests together
Written by FrumForum Editors on Friday December 16, 2011
The Anti-Lincoln Brigade
…is no hyperlink on that "openly prefers the slaveholding cause in the US Civil War." A Google search leads me to this Paul interview with Bill Maher , in which the lifelong anti-war advocate asserts that "the Civil War wasn't fought over slavery," and avers that there were better options for…
Written by David Frum on Friday December 16, 2011
The World Loses a Light
…formulae," he wrote in his memoir, Hitch-22. "But there is another responsibility: to say that some things are simple and ought not to be obfuscated…" This clarity was not limited to thought. We must remember Hitchens also for the remarkable lack of gulf between his beliefs and…
Written by Kapil Komireddi on Friday December 16, 2011
Christopher Hitchens, 1949–2011
…I saw him, my wife and I came to drop some food--lamb tagine--to sustain a family with more on its mind than cooking. Christopher, though weary and sick, insisted on painfully lifting himself from his chair to perform the rites of hospitality. He might have cancer, but we were still guests--and…

redpajama_set_name: RedPajamaCommonCrawl


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Norman Bel Geddes
Adrian 1893 - New York 1958
After studying art at the Cleveland Institute of Art and the Art Institute of Chicago, Norman Bel Geddes started out working as a set designer in Los Angeles. From 1918 Norman Bel Geddes designed sets for the Metropolitan Opera in New York. In 1925 he returned to Los Angeles and worked in Hollywood. Contact with the architects Frank Lloyd Wright and Erich Mendelsohn induced Norman Bel Geddes to turn to architecture and design.
Norman Bel Geddes belonged, along with Raymond Loewy, Henry Dreyfuss, and Walter Dorwin Teague, to the first generation of American industrial designers, who designed railroad trains, buses, cars, aircraft, and machinery. Further, they used the aerodynamic streamlined form as an aesthetic device, applying it to machinery, smaller appliances, lamps, and furnishings.
Norman Bel Geddes was an especially eloquent advocate of the teardrop form. From 1928 Norman Bel Geddes designed futuristic-looking cars for the Graham Paige company. Norman Bel Geddes designed the celebrated General Motors Pavilion, the "Futurama", for the 1939 New York World's Fair, his vision of tomorrow's world as a landscape filled with model buildings.
Norman Bel Geddes also expounded his philosophy of design and his vision of the future in the book "Horizons" (published in 1932) and in "Magic Motorways" (1940).
Straßenszene am Brandenburger Tor
Klostergarten
Stamped Gold Collage
Bildnis einer jungen Frau (Dora Steinbart)
Drei Halbfiguren mit gelbem Haar und blauer Kleidung
Schwaiganger Brand
Volker Böhringer
Baracke im Mondlicht
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Wind Speed: 7 Knots
Visibility: 10-18 Nautical Miles
At 'El Chato'
Tuna fish and crackers
Cheese and vegetable cream soup
Chicken, Fish or beef with salsa and potatoes
Créme caramel
Wild Tortoises and the Pirate Cave
by Christina Reed
We met early this morning in Puerto Ayora and jumped on a bus to tour the Galápagos National Park near the summit of Santa Cruz Island. Our guide for this adventure, Harry Robinson, is a natural historian of the Galápagos who grew up in Villamil, Isabela Island.
As the garaú, or mist, of the high elevations enveloped the bus, we passed papaya, avocado, banana and orange trees on our way up the volacano. When we stopped to visit the twin craters, Los Hermanos, the mist filled the craters like soup. Yellow warblers and vermilion flycatchers darted from branch to branch through the Scalecia forest. Galápagos doves perched on the fences around the craters, which dropped 66 meters below.
Along the National Park trails we followed the same paths as the tortoise 'de cupula,' or dome tortoises. Each species of tortoise in the Galápagos has evolved to the specific conditions of the island it lives on. More than 1,200 individual dome tortoises call Santa Cruz home. Once, 14 different species existed, but since the time when pirates roamed the islands three species have gone extinct. Admiring one of the six tortoises we saw today, Harry says, "We don't know how old they can get, probably at least 170 years. At 70, they are still a sprightly teenager."
Our excursions near the summit also included a journey not unlike the one Jules Verne wrote about in "Journey to the Center of the Earth." Our journey started by climbing down rickety wooden stairs into a lava tube, known locally as 'The Pirate Cave.' Once inside, we clambered, crouched and strolled through the lava tube, which is nearly a kilometer long. Many years ago it formed as an underground tunnel that transported magma away from the summit vent.
With electric lanterns guiding the way and flashlights in hand, we followed the course of the lava that once flowed in the tube. Collapsed portions of the roof gave us access into the tube from the grassy meadow. In some places, the lava tube seemed close to pinching off with only a small gap between the ceiling and the floor that forced us to bend down low to avoid bumping our heads. Other times the lava tube expanded to the size of a racquetball court.
The owner of the property, Miguel Angel Aria, led the way through the lava tube, which is on his property. He discovered the tube several years ago when one of his horses went missing. Unfortunately the horse wandered off and fell into one of the skylights of the tube and was killed. A week later he discovered the horse (from the smell!) and the tube. The lava tube is now a tourist attraction on Santa Cruz and, conveniently, Mr. Aria opened a lovely restaurant near the exit of the tube. We emerged from the lava tube, and celebrated the adventure with a relaxing lunch at his restaurant, "El Chato."


text:
PREACHING PLAN
AMC YOUTH GROUP
J TEAM
YOUTH EXCHANGE
AMC & FRIENDS' TRIPS
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GOOD FAITH BOOK CLUB
UTTERLY BRILLIANT
INNER CITY TESTAMENT
ANOTHER CHRIST
DOES RELIGION DO MORE HARM THAN GOOD?
MARY'S MEALS
REIMAGINING BRITAIN
MEETING JESUS AGAIN
ON GOD'S SIDE
PASTRIX
A HEART BROKEN OPEN
ACCIDENTAL SAINTS
FALLING UPWARD
JAIL BIRD
THE BOOK OF JOY
STREET ANGELS
FATHOMLESS RICHES
THE FIRST PAUL
A LINEAGE OF GRACE
GOD'S UNDERTAKER
REDEEMING THE PAST
LINK TO HOPE
MUSIC GROUP
TUESDAY FELLOWSHIP
MCCP ARCHIVE
Gilead Verdict
Home » News » Gilead Verdict
Marilynne Robinson Image: washingtonpost.com
Frankie Fisher: September 2018
Most of the books we read and discuss are non-fiction of varying kinds, but "Gilead" By Marilynne Robinson is a novel. This proved a turn-off for two of our members, but the rest of us enjoyed it and found a lot to reflect on within it.
It is in the form of a long letter, with no chapters — only pauses (and this too was a deterrent for some), written by an aging and dying father, the Rev. John Ames, to the son of his old age. It is not morbid, however, and is full of quiet and dry humour. John is a minister in a small town in Iowa. His letter tells how he lost his first wife and child and was supported in the ensuing loneliness by his friend Boughton, a Presbyterian minister in the same town. While remaining the best of friends they enjoy deep theological arguments as Boughton is a Calvinist and believes in the salvation of the elect. In spite of this unforgiving doctrine, Boughton is a loving minister, friend and family man. Ames' reflections on theology and life gave us plenty of opportunity for theological discussion ourselves.
John is a pacifist son of a pacifist father, another minister, who disagreed with his own father (also a Rev. Ames) who fought with a gun in Kansas, in the American Civil War. The book gave new insights to us about the tensions after this war, when so many of the young men, encouraged by their minister to take up arms, were killed and he then told them from the pulpit that it was all for nothing. The book showed how the long shadow of the Civil War affected, and we thought still affects, American society. The point was made that the society John Ames portrayed was greatly polarised and this spoke to the state of our own society.
Some of us noticed a lot of description of the effects of light and the beauties of nature that John Ames was hoping to pass on to his son.
If the book has a theme, it is about the wonderful gift Boughton gave to John, which he was unable to fully accept until the end of the story, but I shall not give a spoiler.
For most of us it was a very gentle, easy book, but one which was thought-provoking and interesting. 'Gilead' is the first of a trilogy. In the second book, called 'Lila' (which we have already read), we learn more about John Ames' wife of that name, and in the third book 'Home', there is more about Boughton's children, Jack and Gloria. Together they make up a rich tapestry of stories.
Thought For The Day 256
David Neville: Tue 19 Jan 5:00am
David gives us background and reflection on this reading from Amos 7:1-9.Locusts, Fire and a Plumb Line1 This is what the Sovereign LORD showed me: He was preparing swarms of locusts after the king's share had been harvested and just as the late crops were coming up. 2 When they had stripped the land clean, I cried out, "Sovereign LORD, forgive! How can Jacob survive? He is so...
Arthur Sara: Mon 18 Jan 5:00am
This week, we look at the prophet Amos. Arthur begins with a lament from Amos 5:1-7.and its message for us today.A Lament and Call to Repentance1 Hear this word, Israel, this lament I take up concerning you: 2 "Fallen is Virgin Israel, never to rise again, deserted in her own land, with no one to lift her up." 3 This is what the Sovereign LORD says to Israel: "Your city that...
Rev. Richard Atkinson: Sat 16 Jan 5:00am
Richard reflects on aspects of this passage about the angelic visitor that Paul speaks of in Acts 12:1-18.Peter's Miraculous Escape From Prison1 It was about this time that King Herod arrested some who belonged to the church, intending to persecute them. 2 He had James, the brother of John, put to death with the sword. 3 When he saw that this met with approval among the Jews, he...
Zoom Book Club
Online Sunday Service 10.30am
Sunday 24th January @ 10:30am
Online from the manse
Streamed Nettie Hudson Funeral
Monday 25th January @ 1:00pm
Streamed funeral from church via this website
Sunday 31st January @ 10:30am
Ken Harris: Fri 15 Jan 5:00am
The TFTD Videos
Peter Green: Thu 14 Jan 12:00pm
Pete Honeyball: Thu 14 Jan 5:00am
Rev. Richard Atkinson: Wed 13 Jan 5:00am
Frankie Fisher: Tue 12 Jan 5:00am
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We invite you, our congregation, to add your voice to reflect on the gospel, the role God plays in your life, or something remarkable about love that you'd like to share. Please contact vitalaht@ascensionholytrinity.com if you'd like to contribute one time, or on a regular basis. We ask for submissions have a title, be at least 100 words for each post, and have a picture, if possible. Please include a brief bio.


Sean Spicer on ITV's "Good Morning Britain."
Donald Trump's former Press Secretary said Oprah doesn't have the "political infrastructure" to win a presidential campaign.
Interviewer Piers Morgan pointed out that Trump had no experience either.
Sean Spicer said he appreciated the irony, but wasn't sure whether Trump was a one-off.
Oprah Winfrey wouldn't beat Donald Trump in a 2020 presidential showdown because she lacks political experience, according to Trump's former press secretary Sean Spicer.
Spicer said that Oprah's celebrity gives her a huge platform, and that a one-on-one between her and Trump would be "the clash of titans."
But he doubted whether a Washington outsider like her could win, even though that was precisely the dynamic which helped propel his former boss Donald Trump to victory in 2016.
There has been intense speculation that Oprah could launch a candidacy after a rousing speech at the 2018 Golden Globes.
Responding in an interview on Monday with Britain's ITV channel, Spicer told host Piers Morgan: "You can't make this stuff up. This would be the clash of titans."
However, he said, that "hands down Donald Trump [would win] — but Oprah would give him a run for his money," without explaining why.
Spicer added that Winfrey didn't have the political experience to win an election against Trump — even though his old boss never worked in politics before becoming president, either.
"I think Oprah's an icon in this country and frankly throughout the world, and she's got a huge following that's really not political and she clearly speaks very powerfully to women at this point in our political discourse and our society. There's no question in my mind that she would be extremely formidable.
'That withstanding, President Donald Trump proves there is an appetite for outsiders and you don't necessarily have to have that.
"The question is was that an anomaly or is that the new norm? And that's all I'm getting at. I 100% know who I used to work for."
Following a rousing speech at the Golden Globes on Sunday that led to speculation over her political ambitions, two of Winfrey's close friends have said that she was "actively thinking" about running for the Democratic Party's presidential nomination in 2020.


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Q: Is there a way to pass an echo argument with start-process in powershell? I'm trying to automatically connect an Anydesk Session in Powershell.
According to their CLI documentation, you can pass password with echo.
Right now, I'm starting the process like this, since I need the process ID afterward.
$app = Start-Process $config.anydesk_path -ArgumentList @($config.ip_addresses[$i], "--plain") -passthr

I've tried appending the password to the Argument List like this
$app = Start-Process $config.anydesk_path -ArgumentList @($config.connect_pw, $config.ip_addresses[$i], "--plain", "--with-password") -passthru

but that doesn't seem to enter the password.
Is there a way to send the password with Start-Process?
Thanks.

A: Sadly, Start-Process can only accept input from a file (See -RedirectStandardInput parameter).
You can use .NET Framework Process class directly:
$AnyDesk = New-Object System.Diagnostics.Process

$AnyDesk.StartInfo.FileName = $config.anydesk_path
$AnyDesk.StartInfo.UseShellExecute = $false

# This allows writing to a standard input stream:
$AnyDesk.StartInfo.RedirectStandardInput = $true

$AnyDesk.StartInfo.Arguments = "$($config.ip_addresses[$i]) --plain --with-password"

$AnyDesk.Start()

# Write a password into standard input stream:
$AnyDesk.StandardInput.WriteLine($config.connect_pw)

# Grab a process ID:
$AnyDesk.Id

redpajama_set_name: RedPajamaStackExchange


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Q: Validate number type inputs with jQuery I am having a quite complex problem dealing with jQuery validation on optional fields that have the type="number" specified. What happens is that the browser (Chrome in this case) allows the user to enter normal letters in the field, with the idea of intercepting the submitting of the form and anyway, when the field value is queried, it will return an empty string.
Before going forward, I must say that this is kind-of in line with the specs, that states:

User agents must not allow the user to set the value to a non-empty string that is not a valid floating-point number.

and later on:

The value sanitization algorithm is as follows: If the value of the element is not a valid floating-point number, then set it to the empty string instead.

Here lies the problem: if I enter letters in an optional number input fields (and Chrome allows that), the jQuery validation gets an empty string value which validates correctly since the field is optional. Moreover, I get the emtpy string server side which is ok since the field is nullable in the DB and happily gets saved.
For the time being, the only workaround that I can think of is this:
$('input[type="number"]').keypress(function (evt) {
    if (evt.keyCode < 48 || evt.keyCode > 57)
        evt.preventDefault();
});

Problem is that the above does not work, for example, if the user copy-pastes some wrong input there. Now, I realize that if the user is so determined to enter dumb data he can only face the consequences and have that field nullified, but trying to be a good developer I was wondering if there is a way of obtaining the value entered without using the workarond above (and also without writing another workaround for copypaste).

A: You can use .focusout()  event of jquery . http://api.jquery.com/focusout/
and then use isNumeric to check for valid number. http://api.jquery.com/jQuery.isNumeric
so something like this..
$('input[type="number"]').focusout(function (evt) {
   if(!$.isNumeric($(this).val())){
     $(this).val("");
   }
});

A: jquery.alphanum is a plugin I wrote to prevent invalid text being entered in the first place. It handles copy-paste very well and is Cross-Browser Compatible.
$('input[type="number"]').numeric();

The plugin traps the paste event and filters the text before it becomes visible to the user.

A: You can check input.validity.badInput to see if the user has entered something that isn't a valid number. The browser shouldn't let the user submit the form if the entered data isn't valid (unless you use novalidate="").
You can't get to the actual data the user has entered, because you've said you just want a number, so the browser takes care of it. If you want access to the data, use type=text with a pattern="" or some such.


Today HRB Open Research publishes the first articles from Health Research Board grantees. To mark this occasion, we would appreciate your help in getting the word out.
To assist you, we've prepared suggested tweets and Facebook posts that you can use along with various images.


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Book Review: After You
Christopher William Kinsey	in Literature Reflective	 September 19, 2016 1,027 Words
The difficult second album, or in this case, the sequel to cash-in on the movie adaptation of the first. Jojo Moyes's Me Before You was the sort of romantic novel (dare I say, "chick-lit"?) that transcended labels and made its way to the mainstream. It dealt with difficult subject matters like disabilities and euthanasia. Along the way Moyes managed to sneak the characters inside your heart so that by the end of the book it looked like your hay fever was playing up or you'd been cutting onions all day.
The tears this time start much earlier but they are ones of frustration. Apparently the author decided to pen a sequel because people kept asking what happened to Louisa Clark after the first novel. What was her life like after falling in love and having to watch the man pursue assisted suicide at Dignitas? How did she spend the wealth he's left? Had she followed his instruction to live life to the full in his honour?
It was a complete tale. The happy ending, after such a painful story, was the hope Louisa would go on to lead a fuller life.
Or we can pause that thought and catch up with her working at an airport bar for a boss she hates, living in a paid-for but soulless flat, estranged from her family (being strict Catholics, they didn't appreciate the suicide element).
Despite travelling, Lou hasn't found herself by the start of After You. That journey from country to country left her feeling isolated. Just like before she met and fell for the deceased Will Traynor, she is lost and without direction. Except this time she has a bundle of guilt to carry around.
Had the book paused here and explored this loneliness, it could have built on the underlying themes that made Louisa's character so strong and engaging first time around. You can feel her loss and how she is lost because of it.
Instead Moyes turns her disarray into a plot device which sees Louisa get drunk and walk along the edge of her rooftop balcony. When she is startled by a voice from behind her at the window, down she falls. A neighbours table and patio equipment help break the fall, her body and the novel lie in pieces below.
Cue the not-so-subtle additions to the cast list. A comforting male paramedic (we'll need him for a love interest later), the return of her parents (near death is a good way to repopulate a dwindling cast), a support group to speed up the grieving process, and eventually, the return of that mystery female voice.
That turns out to be Lily, a precocious tearaway of a sixteen-year-old . . . and Will's daughter.
Lily's mother – never painted as anything more than a selfish, self-centred example of bad parenting – had chosen to refrain from telling Will about Lily. In those days he was a womaniser and it seemed he wouldn't have cared. So Lily grew up fatherless, until her mother married, then became isolated as the unwanted step-child.
Upon discovering she has another family, she sets out to connect with them. Her research and endeavour leads her to Lou. Lily wades into her existence, a whirlwind or questions and trouble. Without chance to pause for breath, the girl is using her flat as a second home and turning her life upside down.
For the first half of the book, her interruptions leave little in the way for compassion. She's the type of stranger any sane person would have sent packing. Seemingly thoughtless and on a self-destructive path, all she does is create havoc for Lou and fails to find the common ground with her father's parents.
What makes these interludes harder to process is how moments that should make you gasp just bring about a sigh. And time becomes irregular. Entire passages are filled with language that makes it sound like months must have passed, to find out it's been a little over a week. It's the sort of forced progression that goes against the techniques used in Me Before You.
Then the first real bomb drops.
We learn why Lily has been so wayward. The reasons she has been edgy with certain reoccurring strangers and what has made her so tormented. Suddenly you feel angry for her and once again Moyes proves she can secretly plant little compassion seeds that are slowly watered as she tells a tale.
Lily and Lou are reunited after a painful period of separation and they start to move forward together, honouring the theme of the book, and Will's message to "Live well."
Although it appears Lou could be doing this at the expense of her own happiness, even to the extent of turning down a dream job in New York, proving that doing the right thing and the thing that feels right is often complicated and far from clear-cut.
It's moving enough to cut Moyes some slack for the awkward love scenes and Lou's descriptions (she has developed a desire to sniff things a lot) and baffling oversights. We're supposed to believe she lived in Paris for months, picked up parts of the language but was bamboozled by the French naming of beef cheeks on a menu, only to later use the phrase in her narration, "entente cordiale," as if it were an everyday occurrence.
But these gripes don't ruin what was an ambitious attempt to breathe life into a story that had already been completed first time around. The scenes are sometimes forced, but overall Lou's natural way and humour, not to mention her caring spirit, shine through.
The final sequences may be too over the top for some, it's telling that Jojo Moyes has had her head in movie scripts because we get the big Hollywood ending. But it's also clear she still has the ability to draw believable characters that pull on heart strings.
Will there be a third in the series? Probably. Let's hope next time Lou manages to stay more grounded from the start.
After You
amreading
Me Before You
Book Review: The Widow
The Real Trouble with Touré


text:
You are here: Home / Airline News/Articles / Ford and others drop Pimco fund from 401K, is US Airways next?
Ford and others drop Pimco fund from 401K, is US Airways next?
October 22, 2014 By USPFA Team
Oct 21 (Reuters) - Ford Motor Co said on Tuesday the company will drop the Pimco Total Return Fund from its 401k plan as a result of the sudden departure of Bill Gross.
Ford said in a statement to Reuters: "Ford Motor Company constantly monitors and assesses the performance of its investment lineup. Effective Nov. 14, 2014, the Pimco Total Return Fund is being removed from Ford's investment lineup."
Ford said participant balances and future contributions will be transferred to the Bond Index Fund, which is invested in a collective investment fund through the BlackRock Institutional Trust Company.
Gross, one of the bond market's most renowned investors and the former manager of the flagship Pimco Total Return Fund, quit Pimco for distant rival Janus Capital Group Inc. According to two sources familiar with the matter, he was expected to be fired the next day from the firm he helped launch more than four decades ago and built into a $2 trillion investment powerhouse.
Ford said: "This decision was made after the recent resignation of Bill Gross, Pimco's chief investment officer and portfolio manager. If interested, employees can transfer out of Pimco Total Return Fund at any time prior to Nov. 14."
Filed Under: Airline News/Articles


I found an excellent syrah in Dallesport that I believe would make a fine base for a port. A barrel taste of the 2006 had rich but balanced fruits, no obvious dessert flavors, and a surprisingly long finish featuring solid acid and an evolution of flavors. This is above average stuff selling for about 1700 per ton or about $34 per case for the fruit (assuming 50 cases to the ton). I have enough of the other ingredient to make more than a barrel of port. If anyone wants "in" get back to me in a week +/- so I can gauge interest and get an order in. The process last time involved no barrel aging but an extended (week?) soak on the skins after adding the brandy. Following this procedure we would bottle in time for thanksgiving.
BTW this grower has some cabernet sauvignon left.
Working back from the amount of brandy we can get, how many pounds of grapes would we need to buy?
I did a back-of-the-envelope pearson square and got a maximum wine amount over eighty gallons. I have fifteen gallons of the other at half strenth so you can check my work. It all depends on how much people want to make. If we don't bother with barrel aging the amount of grape we get can be anything from ten pounds to perhaps fifteen hundred (guess about yeild). According to Robinson et al in the wine encyclopedia less barrel time for port means more potential for bottle maturation.
News Flash! I just got word that time is of the essence. If you are in speak up now.
Thanks for doing the legwork, George. I'm in. Can we find out from the grower when this typically ripens, relative to the fruit we get from Cowan? Also, I'd like to know more about barrel aging pros and cons.
Barrel time. Longer barrel aging of port is used to make tawney, ready to drink port that will not last more than a few years in bottle. Ruby and vintage ports are aged up to three years in wood, or not at all. Some of these need thirty years in bottle to mature. The port from '92 was seventeen years in the bottle and doing just fine. It never saw the inside of a barrel. I'm inclined to repeat that success but I am willing to be flexible. Maybe the most interesting, but inefficient, would be for individuals to age their own port in little casks so we can compare results later.
Grape ripening time to follow.
I'd be in for 2 cases at least.
"Other" cost. The other ingredient has cost me about $11.00 per gallon, at which price I make it available to the port effort. That's $2.20 per case (estimate). Materials cost is thus 34.00 grape and 2.20 other for 36.20 per case (best guess, gasoline and misc. not included). I would be glad to discuss the cost structure of "other" in greater detail off line.
I'm fine with little or no barrel time. I wonder, given that it's going to age in the bottle for years, during which time it will throw sediment, if we shouldn't keep it in barrel or carboys long enough to do a couple of rackings in order to clean it up a bit before we bottle. Did the '92 go into bottles more or less right after fermentation?
The "Old '92" had some extended skin time after the other went in and there must have been a post pressing rest to let the murk settle out. I'll ask Kevin (McCarver, Edgefield) if he has notes on that year.
The young wines then remain in the Douro until they 'fall bright', which will normally occur from about March onwards in the year following the vintage.
"Falling bright" sure sounds like settling (and in any case, it'll be a fine term to toss about), but the question is whether they rack before transporting. That would sure make sense (otherwise, why let settle if you're going to shake them up again), and if so, they're talking about 6 or so months settling before a first rack.
Wines that will be destined for great Vintage Port will be aged in wooden cask for between 18 months and two years before being bottled and either sold 'en primeur' or aged in the lodges until ready for drinking. The old tawnies remain in cask for many more years in order to help them gain their nutty character while LBV's and the younger ruby and tawny will be kept for a shorter period in wood before being bottled and shipped all over the world.
For a quick thumbnail on the differences between all the various port styles, check this out.
Terrific input gentelmen. I'm moving ahead with a barrel of port, or possibly a little more. I know we haven't worked out exact shares but there is enough interest that the worst that will happen is I get stuck with a few cases of the stuff. I can deal. Francois and Steve are in, as are Matt H., Whit and JMCQ. Matt G. I assume you want a taste of this also. Next step is me working out just how many gallons of this folly we will get. We should all be ashamed of ourselves.
A taste, paisan, some juice. We pick, we crush, bada bing, bada boom. Capisca? Fuggadaboudit.


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Toyota Cars in Dar es Salaam
HomeBlogPosts Tagged "Toyota Cars in Dar es Salaam"
illcFebruary 2, 2022Toyota Cars in Dar es Salaam
"The new Nissan is a big change from the old Nissan, with a lot of new features and an excellent design and engineering, with its well-balanced body design and more important functions such as the driver's seat, front instrument panel and dash, and the four-banger headlights with integrated beam headlights that have the same lighting functions and are brighter in the daytime."
The 'old' Nissan from the 1980s
The updated Nissan had a new build quality, which allowed some areas to be improved, for example on the hood and seat. If you look closely it can be seen that they look very much similar, to the original Nissan. It is important to note that most of these features were also introduced in the new Nissan but the rest are very different – all of them are still very fresh, even if many of the changes made for the new car had just been implemented.
One aspect the new car had which seemed more important for Toyota is that the Nissan had been designed as a car designed to be a small car. There were many new features which were made for the original car with more of a 'bigger, better weight' feel to it, yet the new car is still extremely tiny.
Toyota Cars in Dar es Salaam.
The company has already acquired three Honda PowerSeries and two Toyota Prius hybrid vehicles from Toyota. The acquisition of the two vehicles will further improve the company's portfolio.
The acquisition of Toyota and its acquisition of Toyota Priya is expected to result in the development of a "high value" vehicle for the second generation of Toyota Prius Hybrid vehicles.
Toyota has started developing the engine and transmission system of the Prius Hybrid with a pre-production version with a fully integrated 4.0 litre turbocharged engine. It is scheduled to be exported to three major markets by the end of 2013.
The fourth generation vehicle is expected to be fitted with a new engine from Volkswagen with a five cylinder boost.
Toyota's new engine was produced by the Toyota Motor Limited subsidiary. The Toyota Motor Limited subsidiary is a North American automotive group of Toyota Automotive, Toyota, Volkswagen and other North American owners. The Toyota Motor Limited subsidiary is based in the U.S., with additional employees in Europe.
The Toyota Priya will also feature a fully integrated 3.0-litre turbocharger.
Nissan currently has 5,400 Prius units in production globally. The next phase is to sell 500,000 vehicles with the Priya. The first version of the Priya will be delivered in India by J.D. Power in 2017.


text:
Roy of the Rovers (även känd som enbart Rovers). Brittisk fotbollsserie som bl.a. gått i svenska Buster och Barracuda.

Serien handlar om det engelska fotbollsproffset Roy Race och hans lagkamrater i det fiktiva laget Melchester Rovers.

Den fick en uppföljare som hette Roy Race Junior.

Externa länkar
The Official Roy of the Rovers Website

Brittiska serier
Brittiska dagspresserier
Brittiska seriefigurer
Äventyrsserier
Sportserier

redpajama_set_name: RedPajamaWikipedia


The organisers of the 1st Dubai International Superyacht Summit, Dubai Ports World and Fabmar, have released more information about the event that runs from February 28 to March 1, 2018 in Dubai. The theme for this year's event is 'The Emirati Riviera: A New World Hub for Yachting'.
"With many marina developments presently under construction, the UAE is increasingly becoming a selected destination on the superyacht cruising circuit and offers an alternative wintering homeport to established destinations," the organisers state.
Mina Rashid Marina Development Dubai: speaker Adnan Al Abbar, DP World.
The UAE, a new recreational maritime hub - opportunities and challenges: speaker H.E. Saeed Mohd Hareb, Dubai Sports Council.
Over the past 25 years, the UAE has diversiᤙ7;ed its economy with tourism as one of its core pillars. Dubai, one of the seven Emirates of the UAE, has become an established exclusive and luxury world destination with leisure boating an important part of the of the tourism offering. A number of international sport organisations and events have chosen to base themselves in the UAE, either on a permanent or temporary basis.


Artichoke season is still going strong in Spain, with huge piles of them in the markets. Artichokes are a cold weather crop that are at their best from November to April. Once the weather heats up, the artichokes will grow too quickly, open their leaves and begin to transform into beautiful but inedible flowers.
Artichokes are actually thistles that are native to the Mediterranean. They have been grown in Italy since ancient times, when they were considered aphrodisiacs by the Romans. They were brought to Spain by North African Moors around 800 AD. Spain is the third largest producer of artichokes in the world after Egypt and Italy. In the United States, however, almost all artichokes come from California where they are in peak season in spring and fall.
The abundance of artichokes in the markets inspired us to come up with an easy way to enjoy them at home. Cremas – pureed soups – are very popular in Spain. Spaniards will puree pretty much anything into a soup. This Crema de Alcachofas (Creamy Artichoke Soup) is quick and easy, especially if you use frozen artichoke hearts.
Frozen artichokes are very convenient, similar in flavor to freshly steamed artichokes, and are available year round. We recommend using baby artichokes for a smoother soup.
If fresh baby artichokes are available and you've got some free time, you could take advantage of them. Remove the tough outer leaves and stems and roughly chop the artichoke hearts. You'll need to increase the cooking time in this recipe, as frozen artichokes are precooked.
We started with two leeks, white parts only, cut in half lengthwise and then sliced into 1/4 inch strips. The leeks were washed well to remove sand between the leaves. These went into a large stock pot with slices of garlic and plenty of olive oil.
One large yukon gold potato was peeled, sliced and added to the pot. The starches in the potato add a creamy texture to the soup. The vegetables were sauteed until they started to soften.
The thawed artichokes were roughly chopped in half and tossed in the pot with the chicken stock, thyme leaves, and a bit of salt and pepper. We also added some cayenne pepper, just enough to make the flavor pop without adding noticeable heat.
All was simmered together for about 20 minutes until the artichokes and potatoes were nice and soft. (Pull off an outer leaf from an artichoke and take a bite to check for tenderness.) The pot was removed from the heat and allowed to cool for a few minutes before blending it all up with an immersion blender. The puree was pretty thick, so we added a little water to thin it out.
Once the soup reached a nice smooth consistency, we added a little heavy cream (this is optional) to create a more silky texture. It only took about a 1/4 cup of cream to get a smooth crema. After adding a little more salt and pepper to taste, the soup went back on the stove to heat up before serving.
Now, this soup on its own is rich and satisfying, but it could use a little garnishing to compliment the flavors and make it more interesting. We tried crispy roasted artichokes and croutons, which added a crunchy contrast but didn't enhance the flavors much. Really good, but it could be better.
The magic occurred with the addition of salty ham. Serrano jamon was sliced into thin strips and fried in a pan over medium-high heat until crispy. We ladled the soup into bowls, drizzled it with some good extra virgin olive oil, and generously sprinkled crispy salty bits of serrano jamon on top. Now this is a match made in heaven. Yum!
optional for garnish: 3 oz cured ham like serrano or prosciutto, sliced into thin strips and fried in a pan over medium-high heat until crispy.
Thaw artichokes and roughly chop into halves or quarters.
Remove dark green parts from leeks. Slice white parts in half lengthwise and chop into 1/4 – 1/2 inch slices. Rinse leeks well in water to remove any sand and drain in colander.
Slice the garlic cloves; no need to mince.
Peel and cut potato in half and then into 1/4 inch slices.
Add leeks, potatoes, and garlic and cook until vegetables are softened, about 5 to 10 minutes.
Add artichokes, chicken stock, thyme leaves, salt, black pepper, and cayenne pepper. Bring to a simmer and cook until artichokes and potatoes are very soft, about 20 to 30 minutes. Remove from heat and let cool for a few minutes before handling.
Using an immersion blender, blend all ingredients together in the stock pot until you have a smooth puree. If the soup is too thick, add water to reach the desired consistency.
Continuing with the immersion blender, blend in the heavy cream, add salt and pepper to taste.
Return blended soup to stovetop to warm soup before serving.
Cook Serrano ham in frying pan until slightly crispy. Using kitchen shears, cut the ham into ¼ slices.
Ladle into bowls, drizzle with olive oil and sprinkle with crispy ham.
Gorgeous photos and delicious recipes. Your post lets me imagine I'm in Spain today!


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text:
A Farewell to Kings – piąty album studyjny kanadyjskiej grupy Rush.

Lista utworów

Przypisy

Linki zewnętrzne
 Okładka

Albumy Rush
Albumy muzyczne wydane w roku 1977
Albumy Anthem Records
Albumy Mercury Records


text:
\section{Introduction}

We calculate the masses and decay constants of light pseudoscalar mesons in unquenched lattice QCD.  These quantities serve as benchmarks for lattice calculations because they are relatively simple to compute with all sources of systematic errors under control.  They also provide a test of chiral perturbation theory ($\chi$PT), including the more sophisticated versions that include lattice discretization effects.  Successful calculation of these simple quantities lends confidence to calculations of more complicated quantities such as the kaon bag parameter ($B_K$) and $K\to\pi\pi$ matrix elements, which also rely on $\chi$PT-guided extrapolations.  Furthermore, the ratio of decay constants $f_K/f_\pi$ is interesting in its own right because it allows for a model-independent determination of the ratio of CKM matrix elements $|V_{us}|/|V_{ud}|$~\cite{Marciano:2004uf, Aubin:2004fs}.

Following the approach of the LHP Collaboration, we use HYP-smeared domain-wall valence quarks and staggered sea quarks \cite{Renner:2004ck}.  We use gauge configurations generated by the MILC Collaboration with a 2+1 flavor improved staggered action because they are publicly available and span a wide range of quark masses, lattice spacings, and volumes~\cite{Aubin:2004fs}.  These lattices allow for good control over chiral and continuum extrapolations for light pseudoscalar quantities using staggered valence quarks.  We show in this work that we have similar control over these extrapolations using domain-wall valence quarks.  We account for the effects of staggered sea quarks by using the appropriate mixed action $\chi$PT (MA$\chi$PT) expressions~\cite{Bar:2005tu}.  The $\chi$PT formulas for light pseudoscalar quantities in the mixed-action theory are more continuum-like than in the purely staggered case, with fewer new parameters.  The mixed-action approach is especially powerful when considering more complicated quantities that are not protected from operator mixing under renormalization, such as $B_K$.  In the staggered case, mixing with taste-breaking operators under renormalization creates significant complications~\cite{VandeWater:2005uq}.  In the mixed-action case, the chiral symmetry of the valence sector makes nonperturbative renormalization as straightforward as in dynamical domain-wall simulations~\cite{Aubin:2007pt}.   The results presented in this work bolster confidence in our future mixed-action calculation of $B_K$.

In Ref.~\cite{Aubin:2008wk} we have performed a strong check of the ability of MA$\chi$PT\ to accurately describe  discretization effects by investigating the isovector scalar correlator.  We find that the MA$\chi$PT\ prediction for the two-particle intermediate state (bubble) contribution to the scalar correlator is in good quantitative agreement with the numerical lattice data, even though there are large discretization effects due to staggered sea quarks.  Thus we conclude that MA$\chi$PT\ correctly describes the dominant unitarity-violating contributions to mixed-action lattice simulations.  Fortunately, in the case of most weak-matrix elements, MA$\chi$PT\ predicts that non-analytic unitarity-violating errors should contribute at the sub-percent level on the MILC lattices that we are using.  This fact, in conjunction with our successful analysis of the scalar correlator, substantiates the claim that unitarity-violating effects in mixed-action lattice simulations can be accounted for and removed to recover precise continuum values for weak matrix elements.

\section{Lattice calculation and chiral-continuum extrapolation}

\begin{table}
\begin{center}
\caption{Simulation parameters of MILC staggered gauge configurations used in this work.  ``Nominal" quark masses are shown.}
 \label{tab:params}
\begin{tabular}{ccccccc}
  \hline\hline
  $a$(fm) & $a\hat{m}' / am'_s$ & $L$(fm) & $m_\pi L$ & $10/g^2$ & Lat. Dim. & $\#$ Confs.  \\
  \hline
  $\approx 0.12$ & $0.02/0.05$ & 2.4 & 6.2 & 6.79 & $20^3\times 64$ & 117  \\
  $\approx 0.12$ & $0.01/0.05$ & 2.4 & 4.5 & 6.76 & $20^3\times 64$ & 220  \\
  $\approx 0.12$ & $0.007/0.05$ & 2.4 & 3.8 & 6.76 & $20^3\times 64$ & 268  \\
  $\approx 0.12$ & $0.005/0.05$ & 2.9 & 3.8 & 6.76 & $24^3\times 64$ & 216  \\
  $\approx 0.12$ & $0.01/0.03$ & 2.4 & 4.5 & 6.76 & $20^3\times 64$ & 160  \\
  \hline
  $\approx 0.09$ & $0.0124/0.031$ & 2.4 & 5.8 & 7.11 & $28^3\times 96$ & 198  \\
  $\approx 0.09$ & $0.0062/0.031$ & 2.4 & 4.1 & 7.09 & $28^3\times 96$ & 210  \\
  $\approx 0.09$ & $0.0031/0.031$ & 3.4 & 4.2 & 7.08 & $40^3\times 96$ & 38  \\
  $\approx 0.09$ & $0.0062/0.0186$ & 2.4 & 4.1 & 7.10 & $28^3\times 96$ & 160  \\
  \hline\hline
\end{tabular}
\end{center}
\vspace{-7mm}
\end{table}

We generate data on the MILC ensembles given in Table \ref{tab:params}.  The quantities $m'_s$ and $\hat{m}'$ denote the values of the simulated staggered sea quark masses, while the unprimed quantities denote the physical masses $m_s$ and $\hat{m}=(m_u+m_d)/2$.  We compute domain-wall valence quark propagators with masses from $m_s/10 - m_s$; our lightest pion is $\approx 240$ MeV.  In order to minimize finite-volume effects, we restrict the combination $m_\pi L \mathrel{\spose{\lower 3pt\hbox{$\mathchar"218$} 4$.  We do not tune the masses of our valence-valence pions to any particular values because one cannot recover unitarity to obtain full QCD at nonzero lattice spacing in the mixed-action theory.  We instead generate many partially quenched data points at two lattice spacings, and use MA$\chi$PT to extrapolate to the physical quark masses and continuum.  The one-loop MA$\chi$PT expressions for most quantities of interest are the same as for chiral fermions except for the appearance of additive shifts to the sea-sea and valence-sea squared meson masses.  Because the two new splittings are easy to obtain from spectrum calculations~\cite{Aubin:2004fs,Aubin:2008wk}, they do not need to be included as free parameters in chiral fits.

In order to suppress contamination from pions circling the lattice in the time direction, we use symmetric and antisymmetric linear combinations of quark propagators with periodic and antiperiodic boundary conditions in our 2-point correlation functions.  The approximate chiral symmetry of domain-wall quarks allows us to use the pseudoscalar current to obtain $f_\pi$, and we extract the decay constant using the axial Ward identity:
	\begin{eqnarray}\label{eq:fpi} f_P = \frac{A_{WP}}{\sqrt{A_{WW}}}\frac{\sqrt{2}(m_x+m_y+2 m_{res})}{m_\pi^{3/2}},
	\end{eqnarray}
\noindent where $A_{WW}$, $A_{WP}$, and $m_\pi$ come from a simultaneous fit of Coulomb gauge-fixed wall-wall and wall-point correlators.    This channel is statistically cleaner than the axial current, and is protected by a non-renormalization theorem.  Because chiral symmetry is not exact in our simulations at finite $L_S=16$, there are small corrections to the axial Ward identity.   We account for the dominant corrections due to residual chiral symmetry breaking by including $m_{res}$ in Eq.~(\ref{eq:fpi}).  We estimate the subleading ${\cal O}(m_{res}m_q a^2)$ corrections to the axial Ward identity using our results at two lattice spacings and largely remove them in the continuum extrapolation.

\begin{figure}
\bigskip
\begin{center}
\vspace{-4mm}
\begin{tabular}{c c}
	\psfrag{title}[b][b][1.0]{$\chi^2$/d.o.f. = 0.93, CL = 0.58}
	\psfrag{x-axis}[t][t][1.0]{$r_1 (m_x + m_\text{res}) $}
	\psfrag{y-axis}[b][b][1.0]{$r_1 m_\pi^2 / 2 (m_x + m_\text{res})$}
	\psfrag{full QCD}[b][b][0.8]{full QCD}
	\psfrag{01/05}[l][l][0.8]{$a\hat{m}' / am_s' = 0.01/0.05$}
	\psfrag{007/05}[l][l][0.8]{$a\hat{m}' / am_s' = 0.007/0.05$}
	\psfrag{005/05}[l][l][0.8]{$a\hat{m}' / am_s' = 0.005/0.05$}
	\psfrag{0124/031}[l][l][0.8]{$a\hat{m}' / am_s' = 0.0124/0.031$}
	\psfrag{0062/031}[l][l][0.8]{$a\hat{m}' / am_s' = 0.0062/0.031$}
	\psfrag{0031/031}[l][l][0.8]{$a\hat{m}' / am_s' = 0.0031/0.031$}
	\psfrag{01/03}[l][l][0.8]{$a\hat{m}' / am_s' = 0.01/0.03$}
	\includegraphics[scale=.41]{mpi_05_2008_psfrag.eps} &
	\psfrag{title}[b][b][1.0]{$\chi^2$/d.o.f. = 0.95, CL = 0.55}
	\psfrag{x-axis}[t][t][1.0]{$r_1 (m_x + m_\text{res}) $}
	\psfrag{y-axis}[b][b][1.0]{$r_1 f_\pi / \sqrt{2}$}
	\psfrag{MILC}[l][l][0.8]{MILC}
	\psfrag{exp}[l][l][0.8]{experiment}
	\psfrag{full QCD}[l][l][0.8]{full QCD}
	\psfrag{01/05}[l][l][0.8]{$a\hat{m}' / am_s' = 0.01/0.05$}
	\psfrag{007/05}[l][l][0.8]{$a\hat{m}' / am_s' = 0.007/0.05$}
	\psfrag{005/05}[l][l][0.8]{$a\hat{m}' / am_s' = 0.005/0.05$}
	\psfrag{0124/031}[l][l][0.8]{$a\hat{m}' / am_s' = 0.0124/0.031$}
	\psfrag{0062/031}[l][l][0.8]{$a\hat{m}' / am_s' = 0.0062/0.031$}
	\psfrag{0031/031}[l][l][0.8]{$a\hat{m}' / am_s' = 0.0031/0.031$}
	\psfrag{01/03}[l][l][0.8]{$a\hat{m}' / am_s' = 0.01/0.03$}
	\includegraphics[scale=.41]{fpi_07_wMILC_psfrag.eps}
\end{tabular}
\caption{Light pseudoscalar meson mass-squared (left plot) and decay constant (right plot) versus valence quark mass.  Full QCD curves are obtained using the ratio of the quark normalization factors from tree-level $\chi$PT to convert staggered quark masses to domain wall masses in the MA$\chi$PT formulas.  Only degenerate ($m_x=m_y$) points are shown. \label{fig:light}}
\end{center}
\vspace{-7mm}
\end{figure}

In order to convert lattice quantities into physical units we use the MILC Collaboration's determination of the scale, $r_1$, where $r_1$ is related to the force between static quarks, $r_1^2F(r_1)=1.0$~\cite{Sommer:1993ce,Bernard:2000gd}.  The ratio $r_1/a$ can be calculated precisely on each ensemble from the static quark potential.  We use the mass-independent prescription for $r_1$ described in Ref.~\cite{Bernard:2007ps}.  In order to fix the absolute lattice scale, one must compute a physical quantity that can be compared directly to experiment; we use the $\Upsilon$ 2S--1S splitting \cite{Gray:2005ad} and the most recent MILC determination of $f_\pi$ \cite{Bernard:2007ps}.  The combination of the $\Upsilon$ mass-splitting and the continuum-extrapolated $r_1$ value at physical quark masses leads to the determination $r_1^{\rm phys}=0.318(7)$ fm~\cite{Bernard:2005ei}.  The use of $f_\pi$  to set the scale yields $r_1^{\rm phys}=0.3108(15)(^{+26}_{-79})$ fm \cite{Bernard:2007ps}.  This difference between the two scale determinations leads to a systematic error in our decay constants labeled ``input $r_1$'' in Table~\ref{tbl:error}.

We use the $SU(3)$ MA$\chi$PT formulas derived in Ref.~\cite{Bar:2005tu} to extrapolate our numerical lattice data to the continuum and physical quark masses.  The choice of $SU(3)$ $\chi$PT is appropriate given the parameters of our numerical simulations because our light pion masses range from 240-500 MeV and are not much lighter than the physical kaon, which is integrated out in $SU(2)$ $\chi$PT. Furthermore, the largest of the taste-splittings on the coarse lattices is not much smaller than the kaon mass [$a^2\Delta_I\approx (460)^2 \textrm{MeV}^2$], though on the fine lattices it is about a factor of 3 times smaller [$a^2\Delta_I \approx (280)^2 \textrm{MeV}^2$].  The statistical errors on $m_P$ and $f_P$ are $\sim 0.5\%-2\%$ for most of our data points.  It is now well-established that NLO $\chi$PT does not describe pseudoscalar masses and decay constants to percent-level accuracy at the physical kaon mass, nor is it expected to based on power counting.  Our data set confirms this picture.  In order to get good fits (as measured by the correlated $\chi^2/$d.o.f.) to even our low-mass data we must include NNLO analytic terms.  The two-loop NNLO logarithmic corrections to the partially-quenched $\chi$PT have been computed in Ref.~\cite{Bijnens:2006jv}, but we have not yet implemented these terms in our fits because of their extremely complicated form.  These expressions would also have to be modified to account for the staggered sea sector, though, given our experience with the one-loop modifications to the mixed action, this is likely a small effect.  In the region where the NNLO analytic terms that we have added are important, we expect the NNLO logarithms to vary slowly enough that their effect is well approximated by the analytic terms.  Even so, this somewhat ad hoc treatment gives rise to our largest systematic error in the determination of decay constants.

We perform chiral fits using two different mass ranges: one with all pions less than 500 MeV in order to study the chiral expansion, and another including masses up to the strange quark, which is used to determine our central values for masses and decay constants.  We correct all data points for finite-volume effects using one-loop MA$\chi$PT, and take as a conservative estimate for the residual finite-volume errors the entire one-loop correction at the data point where that correction is largest.  The light-mass fits to $m_P^2/2(m_x+m_{\rm res})$ and to $f_P$ are shown in Figure~\ref{fig:light}.  For the leading-order low-energy constants (LEC's) appearing in the chiral Lagrangian we use the physical values ($f_\pi$, $\mu$), rather than the values obtained in the $SU(3)$ chiral limit.  To one-loop order this is consistent, and studies by both the MILC and JLQCD Collaborations suggest that use of a physical parameter for the chiral coupling ($f_\pi$ rather than $f_0$) is likely to result in a more convergent chiral expansion~\cite{Aubin:2004fs,Noaki:2008iy}.  We fit the pseudoscalar masses and decay constants separately, since they have no common parameters through one-loop once the leading order LEC's are set to the physical values.  We vary the parameter $f$ appearing in the one-loop expression between the values $f_0$ and $f_K$ as part of our estimate of the chiral fit systematic error.  Each of our low-mass fits has 42 data points and 9-10 fit parameters; our high-mass fits have 69 data points and 15-16 fit parameters.  We do not constrain the size of the LEC's with priors.  Figure~\ref{fig:light} shows the continuum full QCD curve for $f_\pi$ with statistical errors as a cyan band.  The black curve on the decay constant plot is the continuum full QCD result determined by MILC using staggered fermions, after rescaling the bare quark mass in the $x$-axis by the appropriate factor.  Despite the very different shapes of the partially quenched mixed-action data and staggered data (not shown; see Ref.~\cite{Aubin:2004fs}) at finite lattice spacing, the continuum curves are in good agreement.  We also show the experimentally-measured value of $f_\pi$ (which is offset  for clarity) using the $\Upsilon$ spectrum to set the scale for comparison.

\begin{figure}
\bigskip
\begin{center}
\vspace{-4mm}
\begin{tabular}{c c}
	\psfrag{title}[b][b][1.0]{$\chi^2$/d.o.f. = 1.20, CL = 0.15}
	\psfrag{x-axis}[t][t][1.0]{$r_1 (m_x + m_\text{res})$}
	\psfrag{y-axis}[b][b][1.0]{$r_1 f_{xy} / \sqrt{2}$}
	\psfrag{MILC fpi}[l][l][0.8]{MILC $f_\pi$}
	\psfrag{MILC fK}[l][l][0.8]{MILC $f_K$}
	\psfrag{full QCD K}[l][l][0.8]{full QCD $K^+$}
	\psfrag{full QCD pi}[l][l][0.8]{full QCD $\pi$}
	\psfrag{02/05}[l][l][0.8]{$a\hat{m}' / am_s' = 0.02/0.05$}
	\psfrag{01/05}[l][l][0.8]{$a\hat{m}' / am_s' = 0.01/0.05$}
	\psfrag{007/05}[l][l][0.8]{$a\hat{m}' / am_s' = 0.007/0.05$}
	\psfrag{005/05}[l][l][0.8]{$a\hat{m}' / am_s' = 0.005/0.05$}
	\psfrag{0124/031}[l][l][0.8]{$a\hat{m}' / am_s' = 0.0124/0.031$}
	\psfrag{0062/031}[l][l][0.8]{$a\hat{m}' / am_s' = 0.0062/0.031$}
	\psfrag{0031/031}[l][l][0.8]{$a\hat{m}' / am_s' = 0.0031/0.031$}
	\psfrag{01/03}[l][l][0.8]{$a\hat{m}' / am_s' = 0.01/0.03$}
	\psfrag{0062/0186}[l][l][0.8]{$a\hat{m}' / am_s' = 0.0062/0.0186$}
	\includegraphics[scale=.41]{fk_all_10_2008_psfrag.eps} &
	\psfrag{x-axis}[t][t][1.0]{$r_1 (m_x + m_\text{res}) $}
	\psfrag{y-axis}[b][b][1.0]{$r_1 f_{SU(3)} / \sqrt{2}$}
	\psfrag{LO}[l][l][0.8]{LO}
	\psfrag{NLO}[l][l][0.8]{NLO}
	\psfrag{All orders}[l][l][0.8]{All higher orders}
	\includegraphics[scale=.41]{fpi_NLO_psfrag.eps}
\end{tabular}
\caption{High-mass fit to $f_P$ data with chiral continuum extrapolation curves for $f_K$ and $f_\pi$ on left.  For nondegenerate mass points, the lighter valence quark mass is shown along the $x$-axis.  Again, full QCD curves are obtained using the ratio of the quark normalization factors from tree-level $\chi$PT to convert staggered quark masses to domain wall masses in the MA$\chi$PT formulas.  Study of convergence of $\chi$PT for decay constants on right. \label{fig:fk}}
\end{center}
\vspace{-7mm}
\end{figure}

We present the result of the high-mass fit used to obtain $f_\pi$ and $f_K$ in Figure~\ref{fig:fk}.  The cyan and grey bands show the continuum full QCD extrapolations with statistical errors for degenerate ($f_\pi$) and nondegenerate ($f_K$) decay constants, respectively.  For the nondegenerate curve, the strange mass is fixed at its physical value.  We determine the physical bare valence $u$-, $d$-, and $s$-quark masses from our fits to $m_P^2$; the physical bare sea quark masses were determined by MILC in a similar manner.  In order to obtain the charged pion and kaon decay constants, we extrapolate the light valence-quark mass to $\hat{m}$ for $f_\pi$ but to $m_u$ for $f_K$.  The light sea-quark masses are set to $\hat{m}$ for both decay constants, and this leads to a slight vertical offset in the final value for $f_K$ as compared to the grey full QCD band in Figure~\ref{fig:fk}.  In order to achieve good fits including nondegenerate pseudoscalar masses up to $\approx 600$ MeV, we must include higher-order polynomial terms.  Figure~\ref{fig:fk} shows all of the data points used in the high-mass $f_P$ fit.  In addition to the NNLO analytic terms, we include terms proportional to $(m_x+m_y)^n$. We find that we cannot get good correlated fits unless $n$ is as high as six.  Figure~\ref{fig:fk} compares our results for decay constants with those obtained by the MILC Collaboration.  This comparison is more meaningful than a comparison with experiment because we are using the MILC $r_1$ (obtained from $f_\pi$) to set the scale, and one needs $|V_{us}|$ in order to extract $f_K$ from experiment.  Figure~\ref{fig:fk} also shows the breakdown of our high-mass fit including terms through LO, NLO, and ``all higher orders'' to the degenerate SU(3) curve in the continuum limit.  The right-most part of this plot corresponds to $500$ MeV, where we do not expect $\chi$PT to be especially convergent.  Because we are interpolating in the quark mass in this region, we expect the high-order polynomials to approximate higher-order nonanalytic effects, whereas closer to the physical pion mass, the NLO contributions should be dominant.  We find the results of our fits to be consistent with the expectations from chiral power-counting.  It would, nevertheless, be valuable to continue this study with the complete and correct NNLO formula including chiral logarithms.

The error in Table~\ref{tbl:error} labeled ``chiral-continuum extrapolation'' is estimated by performing a number of different ``reasonable" fits and taking the spread between them.  For example, we add additional higher-order analytic terms (giving fits with acceptable confidence levels) and compare the results with those obtained from the preferred fit.  We also vary the coefficient of the log terms between $f_0$ and $f_\pi$ as part of our estimate of the $f_\pi$ error, and between $f_\pi$ and $f_K$ as part of our estimate of the error in $f_K$.  Although we include terms proportional to $a^2$ in the preferred fit, there is some ambiguity (with only two lattice spacings) in the dominant source of discretization errors, which may be purely $a^2$ corrections, taste-breaking terms proportional to $\alpha_s^2 a^2$, or chiral symmetry breaking terms proportional to $m_{res} a^2$.  It is also possible that the different sources lead to discretization effects of the same size.  We therefore vary the coefficient of the NLO $a^2$ analytic terms and include the resulting spread in the decay constants as part of the systematic error.  We also include the parametric uncertainty coming from the uncertainty in the bare quark masses in the chiral extrapolation error.

\begin{table}[h]
  \centering
  \caption{Preliminary error budget.  Uncertainties are shown as percentages.} \label{tbl:error}
  \begin{tabular}{ll@{\quad}c@{\quad}c@{\quad}c} \hline\hline
    source                     &$f_K$  &$f_\pi$  &$f_K/f_\pi$ \\
    \hline
    statistics                          & 1.1       & 1.5          & 1.3            \\
    input $r_1$                      & 1.6       & 2.0          & 0.3            \\
    chiral-continuum extrapolation          & 2.3       & 2.2          & 1.0         \\
    finite volume                       & 0.3       & 0.9          & 0.9           \\
    \hline
    total error                   & 3.0       & 3.4          & 1.9           \\
    \hline\hline
  \end{tabular}

   \vspace{-7mm}
\end{table}

\section{Results and Conclusions}

Our preliminary results for the light pseudoscalar meson decay constants and their ratio are
\begin{eqnarray}  f_\pi = 129.1(19)(40) \  \textrm{MeV}, \ \ \
        f_K = 153.9(17)(44) \  \textrm{MeV},  \ \ \
        f_K/f_\pi = 1.191(16)(17), \nonumber
\end{eqnarray}
where the first error is statistical and the second is the sum of systematic errors added in quadrature.  A breakdown of the total error for each quantity is given in Table~\ref{tbl:error}.  Our errors are somewhat reduced as compared to the results presented in the talk, due to the completion of an additional fine ensemble with a light strange sea quark.  Given the experimental values for the kaon and pion leptonic branching fractions and the electroweak corrections \cite{Amsler:2008zz}, we obtain $|V_{us}|/|V_{ud}|=0.2315(45)(7)$, where the first error is the lattice error (with statistical and systematic errors added in quadrature), and the second is the combined error from experiment and electroweak radiative corrections.  Taking the PDG value of $|V_{ud}|=0.97418(27)$ from superallowed $\beta$-decay \cite{Amsler:2008zz}, we obtain $|V_{us}|=0.2255(44)(7)$.  This is consistent with the value of $|V_{us}|=0.2255(19)$ coming from semileptonic kaon decays and non-lattice theory \cite{Amsler:2008zz}.  Given the above value of $|V_{ud}|$, our value of $|V_{us}|$ is also consistent with unitarity.

redpajama_set_name: RedPajamaArXiv


Silver Lining Management is pleased to announce that fourteen-year-old singer/songwriter sensation Molly Annelle's first CD entitled MELODYhas been released. The album is produced by Bryant Olender, co-produced by Molly Annelle and recorded at Really Grateful Music Studio in Vancouver BC, Canada.
Beverly Delich, who worked with Michael Bublé and wrote the book, "Come Fly With Me, Michael Bublé's Rise to Stardom", manages Molly. She worked with Michael for seven years before introducing him to David Foster.
What inspires this extraordinarily precocious youngster to write such mature, deep lyrics and catchy melodies? Molly sees herself as a "musical magpie" that uses words, emotions and expressions that sparkle and grab her attention.
Molly is an astonishing artist who is influenced by all genres of music… classic rock, jazz, rap, pop, R&B. Mostly, she enjoys discovering that emotions such as frustration, joy, pain and anger can be expressed in words and melodies.
"When I sit at the piano, ideas flood into my mind like a river. Most of my songs are written in a stream of consciousness," she says.
Molly is extremely prolific. For someone so young, she is a keen observer of our social, cultural and political climate. One of her songs, "Sunflower," was written after watching the news of Ku Klux Klan marches in Charlottetown. "Kids" talks about the rise of social media and how it has ruined many young people's lives and "A Line Inside" is a song about ambition and pursuing your goal even when no one gives you a chance.
Molly began learning to play the piano when she was three. At nine, she won Young Composer of the Year for her adaptation of a poem by Rudyard Kipling into a four-piece harmony for the Vancouver Chamber Choir. She recorded her first EP when she was ten.
Molly resides with her family in Vancouver, B.C., and is attending an Arts school as she continues to build her piano, song writing and performing skills. Molly looks forward to the exciting road ahead as she continues to write more songs, perform in front of large audiences and have her songs picked up and performed by other artists.


text:
//
// OVAFBopomofoCorrection.cpp
//
// Copyright (c) 2004-2010 The OpenVanilla Project (http://openvanilla.org)
// All rights reserved.
//
// Permission is hereby granted, free of charge, to any person
// obtaining a copy of this software and associated documentation
// files (the "Software"), to deal in the Software without
// restriction, including without limitation the rights to use,
// copy, modify, merge, publish, distribute, sublicense, and/or sell
// copies of the Software, and to permit persons to whom the
// Software is furnished to do so, subject to the following
// conditions:
//
// The above copyright notice and this permission notice shall be
// included in all copies or substantial portions of the Software.
//
// THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND,
// EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES
// OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND
// NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT
// HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY,
// WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING
// FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR
// OTHER DEALINGS IN THE SOFTWARE.
//

#include "OVAFBopomofoCorrection.h"

namespace OpenVanilla {

OVAFBopomofoCorrectionContext::OVAFBopomofoCorrectionContext(OVKeyValueDataTableInterface* dataTable)
    : m_dataTable(dataTable)
{
}

bool OVAFBopomofoCorrectionContext::handleKey(OVKey* key, OVTextBuffer* readingText, OVTextBuffer* composingText, OVCandidateService* candidateService, OVLoaderService* loaderService)
{
    return false;
}

bool OVAFBopomofoCorrectionContext::handleDirectText(const string& text, OVTextBuffer* readingText, OVTextBuffer* composingText, OVCandidateService* candidateService, OVLoaderService* loaderService)
{
	/*
    #ifndef _MSC_VER
    const char* tcMsg = "啟動注音文校正功能";
    const char* scMsg = "启动注音文校正功能";
    #else
    const char* tcMsg = "\xE5\x95\x9F\xE5\x8B\x95\xE6\xB3\xA8\xE9\x9F\xB3\xE6\x96\x87\xE6\xA0\xA1\xE6\xAD\xA3\xE5\x8A\x9F\xE8\x83\xBD";
    const char* scMsg = "\xE5\x90\xAF\xE5\x8A\xA8\xE6\xB3\xA8\xE9\x9F\xB3\xE6\x96\x87\xE6\xA0\xA1\xE6\xAD\xA3\xE5\x8A\x9F\xE8\x83\xBD";
    #endif
	*/

    if (!readingText->isEmpty() || !composingText->isEmpty())
        return false;

    if (!text.size())
        return false;

    // loaderService->logger("OVAFBopomofoCorrectionContext") << "direct text: " << text << endl;

    m_characters = OVUTF8Helper::SplitStringByCodePoint(text);
    m_currentChar = m_characters.end();

    for (vector<string>::iterator iter = m_characters.begin() ; iter != m_characters.end() ; ++iter) {
        string current = *iter;
        vector<string> results;

        results = m_dataTable->valuesForKey(current);

        // loaderService->logger("OVAFBopomofoCorrectionContext") << "current: " << current << ", results: " << results.size() << endl;

        if (results.size()) {
            m_currentChar = iter;

            OVOneDimensionalCandidatePanel* panel = candidateService->useVerticalCandidatePanel();
            OVCandidateList* list = panel->candidateList();

            list->addCandidates(results);

			panel->setCandidatesPerPage(9);
            panel->show();
            panel->updateDisplay();
            panel->yieldToCandidateEventHandler();

            composingText->setText(text);
            composingText->setCursorPosition((size_t)(iter - m_characters.begin()));
            composingText->updateDisplay();

			/*
			string locale = loaderService->locale();

			if (locale == "zh_TW" || locale == "zh-hant")
				loaderService->notify(tcMsg);
			else if (locale == "zh_CN" || locale == "zh-hans")
				loaderService->notify(scMsg);
			else
				loaderService->notify("Bopomofo correction activated");
			*/

            return true;
        }
    }

    composingText->setText(text);
    composingText->commit();
    return true;
}

void OVAFBopomofoCorrectionContext::candidateCanceled(OVCandidateService* candidateService, OVTextBuffer* readingText, OVTextBuffer* composingText, OVLoaderService* loaderService)
{
    composingText->setText(OVUTF8Helper::CombineCodePoints(m_characters));
    composingText->commit();
}

bool OVAFBopomofoCorrectionContext::candidateSelected(OVCandidateService* candidateService, const string& text, size_t index, OVTextBuffer* readingText, OVTextBuffer* composingText, OVLoaderService* loaderService)
{
    *m_currentChar = text;
    composingText->setText(OVUTF8Helper::CombineCodePoints(m_characters));
    composingText->commit();
    return true;
}

//bool OVAFBopomofoCorrectionContext::candidateNonPanelKeyReceived(OVCandidateService* candidateService, const OVKey* key, OVTextBuffer* readingText, OVTextBuffer* composingText, OVLoaderService* loaderService)
//{
//    return false;
//}

const string OVAFBopomofoCorrection::localizedName(const string& locale)
{
    #ifndef _MSC_VER
	string tcname = "注音文校正";
	string scname = "注音文校正";
    #else
	string tcname = "\xE6\xB3\xA8\xE9\x9F\xB3\xE6\x96\x87\xE6\xA0\xA1\xE6\xAD\xA3";
	string scname = "\xE6\xB3\xA8\xE9\x9F\xB3\xE6\x96\x87\xE6\xA0\xA1\xE6\xAD\xA3";
    #endif

    if (locale == "zh_TW" || locale == "zh-Hant")
    	return tcname;
    else if (locale == "zh_CN" || locale == "zh-Hans")
    	return scname;
    else
    	return string("Bopomofo Correction");
}

const string OVAFBopomofoCorrection::identifier() const
{
    return OVAFBOPOMOFOCORRECTION_IDENTIFIER;
}

OVEventHandlingContext* OVAFBopomofoCorrection::createContext()
{
    return new OVAFBopomofoCorrectionContext(m_dataTable);
}

bool OVAFBopomofoCorrection::initialize(OVPathInfo* pathInfo, OVLoaderService* loaderService)
{
    string tableName = OVAFBOPOMOFOCORRECTION_IDENTIFIER "-bopomofo-correction-cin";
    m_dataTable = loaderService->CINDatabaseService()->createKeyValueDataTableInterface(tableName);
    if (!m_dataTable) {

	    m_dataTable = loaderService->SQLiteDatabaseService()->createKeyValueDataTableInterface(tableName);
		if (!m_dataTable) {
            // loaderService->logger(identifier()) << "Cannot find table: " << tableName << endl;
	        return false;
		}
    }

    // loaderService->logger(identifier()) << "bopomofo correction inited." << endl;

    return true;
}

void OVAFBopomofoCorrection::finalize()
{
    delete m_dataTable;
}

};

redpajama_set_name: RedPajamaGithub


text:
The Biggest Fan Theories For Netflix's Second Season Of Arcane, Explained
Screenshot: Riot / Netflix
Surprising no one, Arcane, the wildly popular Netflix interpretation of a similarly blockbuster video game, is getting a second season. Netflix officially announced the news over the weekend, the next step on the path of League of Legends' apparent (but kinda out-of-left field) quest for total cultural domination.
Arcane's first season, which wrapped a few days ago, ends on a cliffhanger that sees many characters left for dead or about-to-be-dead. Netflix did not provide a release window for the second season, but it's safe to say that season two is a long way off. (The first season was announced in October 2019 and debuted in November 2021, though that time frame was likely affected by covid-related production woes.) In the meantime, fans, naturally, have theories about where Arcane could go.
Quick note before we dive into all of that: I want to be very clear that I don't play League. I'm not up on the lore, nor am I acquainted with the full character roster—which is apparently, oh, wow, 140 deep. But I got a real kick out of the show and an even bigger kick out of chatting about it with people; as a result, I have a good grasp on League within the confines of Arcane's canon. Of course, if I missed anything extremely obvious, or if anything seems off, let me know (politely please) in the comments!
All right, let's do this.
Spoilers, obviously, for Arcane's first season.
The fate of the council
Arcane's first season ends with a bang—literally. After shooting Silco dead and leaving her sister, Vi, tied up in a chair, Jinx fires a Hextech cannon toward Piltover. The final scene intercuts a montage of Arcane's main characters alongside a wide-angled shot showing the missile hurtling across the horizon, all while somber music plays in the background. As the tune hits its crescendo, the missile's destination is clear: the city council chambers, where the entirety of Piltover's ruling body has congregated. Big gold flash. Cut to black. Credits. That's the season.
If the unambiguous on-screen death of children wasn't proof enough, Arcane is no stranger to dour territory. But I, for one, find it hard to believe that the Riot-Netflix brand-synergy apparatus would greenlight the explosive death of eight significant characters, two of whom have more screen time than nearly anyone else in the cast. Jayce, who's a playable hero in the game, and Mel Medarda, who's not, surely can't be offed this early, right?
More likely, per a theory detailed by Forbes writer Paul Tassi, is that Mel Medarda has some sort of trick up her sleeve that saves the day. Maybe it's the result of her Hextech ring. Maybe it's some untapped innate ability Mel Medarda herself isn't aware of. Whatever the case, the theory presupposes that the gold flash at the end is tied in some way with the gold motifs so often shown when Mel Medarda is on screen. (Of course, her survival could also end up setting the stage for her potential debut as a playable character in League of Legends.)
Vander's Potential Return
Despite only appearing in the first three episodes, Vander is indisputably one of the most important characters in the show. The surrogate father of Vi and Jinx (née Powder), Vander casts a shadow over the whole program, often referred to in sort of WWVD terms. You constantly hear about his exploits as an unstoppable fighter. But you never quite see him in action—save for one fight in the third episode in which he temporarily goes beast mode (literally, turning into a Hulk-like monster after swilling some Shimmer).
The folks at Think Story, the popular YouTube channel, have a theory: Singed resurrects Vander as Warwick, a playable werewolf character in the game. In addition to some canine-themed hints circling Vander (once referred to as the "hound of the underground"), Arcane's first season ends with a lengthy shot of a red moon—classic werewolf imagery. The final frame of Singed shows a furry, muscular claw in the foreground. Per Warwick's official backstory, he's transformed by Singed from "a gangster who put down his blade and took up a new name,"—a logline that totally squares with Vander—into his lycan state. And, as Think Story notes, Singed's official character art does indeed show a suspended character in the background that bears a strikingly similar silhouette to the form Vander takes in his "final" moments…
Silco's Basically Inevitable Return
One Reddit user points out the obvious: Silco dies with so, so many threads in his plotline left unspooled. You never really get the full backstory of Silco and Vander's disagreement. You don't get the full scoop on his connection to Jayce. There's precedent for his return, too. Act three devotes no shortage of time establishing that Silco's frequent dark-arts collaborator, Singed (also a playable character in the game), can work some life-saving, and perhaps death-undoing, magic. It's a safe bet that Silco makes a comeback of some sort.
Ekko's Time Traveling
Get this: Ekko is known as "the boy who shattered time." First off, c'mon, how freakin' cool is that? But also, Ekko doesn't exactly do much shattering of time in Arcane. He's a solid fighter and hoverboard-rider. He also gets blown up—just the sort of thing you'd use time travel to avoid. In the last episode, Ekko and dismissed councilmember Heimerdinger (both are playable in the game) team up. As Think Story points out, during some of the final frames, you can see the duo tinkering with some machinery: a whole bunch of disassembled clocks strewn around the workbench. It stands to reason that Heimerdinger, who's renowned as a genius inventor, may assist Ekko with the invention of his signature Zero Drive time-manipulation device.
When it comes to integrating more of League's 140-character roster into Arcane, things get a little tinfoil hat for my tastes. Still, there's some compelling evidence that Orianna, the "lady of clockwork" (and a playable character in the game), might show up in the second season.
During the final sequence, Singed can be seen holding a locket containing the picture of a young woman. Eagle-eyed fans spotted that she and Orianna wear their hair in an identical fashion. According to Orianna's official backstory, her father, a tinkerer named Corin Reveck, slowly replaced every part of her body "piece by piece," in an effort to save her from a fatal poisoning. (Note: We never learn Singed's real name in the show. We do, however, hear off-hand mention of an ill-fated daughter.)
Vi and Caitlyn End Up Together
This better happen. They're perfect for each other!
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Q: TS6133 Typescript compiler is not checking the usage of nested object members During Typescript development we are using noUnusedLocals in tsconfig.json to keep our code clean and remove unused local variables. Passing in complex objects to a method, the parameter object just gets checked on a top level basis, but not the usage of nested values like shown below:
class Test {
    main({
        obj
    }: {
        obj: {
            v1: string;
            v2: boolean;
        };
    }) {
        console.log('Foo');
        //console.log(obj.v2);
    }
}

shows the following error:
Test.ts:2:10 - error TS6133: 'obj' is declared but its value is never read.

2     main({
           ~
3         obj
  ~~~~~~~~~~~
4     }: {
  ~~~~~

Changing the code to this:
class Test {
    main({
        obj
    }: {
        obj: {
            v1: string;
            v2: boolean;
        };
    }) {
        console.log('Foo');
        console.log(obj.v2);
    }
}

does not point to the missing usage of obj.v1. Is there any way to overcome this?

A: What you're asking for is not something that noUnusedLocals rule supports. It only checks if all local variables are being used on the scope, at a superficial level. That means that it doesn't go in deep inside those variables, when they are objects holding fields/properties.
And as far as I tell, there is no actual linter rule or language construct that does that. To be honest I don't even think it would be very efficient, since it will have to do a lot of checking in objects across project, objects of arbitrary nesting levels.
Thus, as suggested in a comment to the question, a possible approach would be to extract v1 and v2 as function parameters.


text:
Goosebumps: Stay Out of the Basement (R.L. Stine) – Throwback 30
by Amy Walker@Amazing_Amy_W 26 July 2022 25 July 2022
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The first entry in the Goosebumps horror series, Goosebumps: Welcome To Dead House, was a huge success for Scholastic, and it seemed like Goosebumps fever was going to sweep through schools across the world. Luckily, the next few entries in the series were already written and ready to go, and just a few weeks after the first volume hit the shelves it was followed by Goosebumps: Stay Out of the Basement.
The plot of the book follows Margaret and Casey Brewer, who live with their mother and father in a quiet small town in the US. Their father, Dr. Brewer, is a specialist botanist, but was recently fired from his job. As such, he's become obsessed with the work that he's carrying out in the house's basement, hoping that when he completes his experiments it will prove those who fired him wrong, and redeem his reputation. He warns Margaret and Casey to stay out of the basement no matter what.
READ MORE: Goosebumps: Welcome To Hell House (R.L. Stine) – Throwback 30
When their mother has to travel to see her sister the kids are left alone with their father; who continues to concentrate on his work in the basement, and pays little attention to the children. When their father drives their mother to the airport, the kids sneak into the basement to check out what's got their father so obsessed, and find strange, large plants that make breathing and groaning noises. When they try to check it out one of the plants grabs Casey with its tendrils. They manage to break free, but are caught by their father as they exit the basement.
As time moves on their father begins to act even stranger. He starts wearing a hat at all times but has leaves sticking out of it, secretly eats plant food, sleeps in a bed full of soil and worms, and bleeds green when cut. The kids begin to suspect that their father has turned himself into some kind of plant hybrid with his experiments. But the truth waiting for them in the basement is much more shocking than that – if only they can survive long enough to find out.
Goosebumps: Stay Out of the Basement is similar to Goosebumps: Welcome to Dead House in the fact that you can see that Stine is still trying to find the style and tone that will eventually become a big part of the series. This is one of the few Goosebumps books that isn't written in the first-person by one of the child characters, and instead takes a third-person perspective. This make the book stand out straight away, as it's a style that the series never normally uses, and the character-driven narrative of the rest of the series is something that many who read the books when they were first released will remember.
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There's also a lack of much humour or weirdness in the book. Many of the Goosebumps books will have peaks in tension, where Stine builds something up to end a chapter on a cliff-hanger scare that is quickly resolved at the start of the next chapter, often as an 'I was scared of nothing' reveal. This doesn't really happen in this book, and instead there's a pretty constant tension throughout that builds as the book progresses. This comes from the fact that the entire book is centred around the Brewer house, and we never get away from the horrors lurking there. But it's also because there's no one for the kids to confide in or ask for help from. Their mother is gone, and the only adult left in their life is the figure of which they're afraid. It makes for a pretty dark and oppressive read from a series that's known for being a bit fun and silly at times.
Despite this, the book was as much a success as the first, and helped to cement that Stine wasn't a one-hit-wonder, and that the Goosebumps brand was one to keep an eye on. The book ended up becoming one of the more iconic entries in the series, and inspired a plethora of merchandise. The creepy, plant-like hand from the front cover of the book became one of the most recognised images in the series, and was seen everywhere. There were t-shirts with it on, and door hangers warning parent to 'stay out'; you could get big plastic plant hands to go over door handles, and there were even really odd pieces of merch like tape dispensers, scissors, and protractors all designed to look like they were made of plant matter. Some of the items that got the Stay Out of the Basement treatment were a bit odd to say the least; but boy did they sell.
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The story was also one of the books that was adapted as part of the much popular Goosebumps television series, and was one of the few stories to get a two-part adaptation. The TV version stuck close to the events of the book, though some of the smaller details are changed to deliver a less bloody and violent finale.
It's hard to think of a time where Goosebumps would have been seen as a gamble, where it would have been a risk to take a chance on a writer who would go on to be the biggest selling horror writer alive today, and that's in part down to Goosebumps: Stay Out of the Basement helping to show that it wasn't a one-off, that this was a series that had a lot of promise, and one that kids would happily return to time and time again.
Tags: Goosebumps Goosebumps: Stay Out of the Basement R.L. Stine Scholastic Throwback Throwback 30
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