text:
By cubeadvance,
June 27, 2005 in Sport
Mari's been stabbed in a supermarket
https://news.sky.com/story/amp/pablo-mari-arsenal-star-among-six-stabbed-in-milan-shopping-centre-12731763
Balls. Saka off injured.
Saka has been getting lumps kicked out of him every week with scarcely a yellow shown at opponents.
We haven't had a kick since Saka went off and all their chances came from screw-ups at the back. This has a Lindgard equaliser written all over it.
That second Reiss-Nelson goal was a beauty. Full length of the pitch, then from left to right. Superb.
stupid sports channels choosing their games ahead of time and not expecting Arsenal to be league leaders.
you'd think a Forest game would have been picked up for being "newly promoted", etc.
that Jesus miss. Dude can't buy a goal.
clean sheet too.
wev
Jesus doing everything right apart from hitting the met again
5 mins? Why?
Larsen B
The ref just couldn't get enough of blowing his whistle so wanted an extra 5 minutes to get a few more in.
Let us hope that was the last Europa League group game we'll have to endure for at least a decade.
The treatment of Saka is an embarrassment.
That foul on Saka was so clear even that clown Jenas acknowledged it. Then Saka is booked for his response - just trash refereeing.
Jesus confidence looks completely shot - that miss from the Martineli cross was bizarre.
That's one of the best performances of the season, no doubt. Everywhere on the pitch the Arsenal were better. Jesus in the second half was superb, winning the corner that led to the goal. Top quality.
Jesus is so frustrating as he's clearly vital to our attacking cohesion and pattern of play and is a massive upgrade for the team over Lacazette, Aubamyang and Nketiah in that sense.
It's just that finishing which has always been his issue. Then again if he could finish City wouldn't have let him go and we wouldn't have got him when we did, a clinical Jesus would be a £100m player.
Great performance though, nice to thoroughly deserve these wins and not sit back and be spawny against the xG. We took it to them and they looked like Arsenal under Emery, messing around passing out at the back, losing it, that sad early Arteta 'horseshoe of shame' passing going nowhere.
Aston Villa under Emery don't look too bad
Although reminds me of the heady days of "we've got our Arsenal back".
Well, we've got them back now alright!
Highlight of the season so far has been the Arsenal internet rigging Strictly so Big Tone sails through every week.
That Brighton game was awful but Reiss Nelson looked pretty bright.
Am I mad in thinking he can come good under Arteta? Or is he done at Arsenal?
He's clearly got the talent but I think he's suffered from a lack of confidence and application. It does sound like the penny had dropped though and he's supposed to be showing in training he's determined to make a go of it. I do wonder if he's a bit like Eddie in that he's seen the options available should he leave this summer and thought that maybe being at Arsenal might actually be quite good after all. He's pretty much exactly what we're trying to shop for too.
Top of the table at Christmas boys.
I've never felt sad seeing a pitch get churned up before.
For some reason the rugby league world cup semi is being played at the Emirates today.
Its a crime against nice grass.
Making very hard work of this so far. Not at all convinced by Vieira, I have to say.
Salibas had a dodgy game tonight too
17 minutes ago, The Fox said:
Don't disagree but that was a lovely dinked cross for the goal.
Gabriel Jesus' eybrows are incredible. It's like he's always either about to cry, or doing a swoony close-up in a boyband.
Pinball goalmouth action!
50 minutes ago, wev said:
He's looked a bit suspect these last few games and it feels like he has a mistake in him, Gabriel is always there to cover him though.
Never in doubt.
What's interesting is that we've played 2 more games away than at home in this run. City have done the exact opposite.
Incredible character from these boys, especially after last season.
We're winning all sorts of ways which is so good to see. During the dark old days we'd have panicked and started heaving aimless crosses into the box until the clock ran down. It'll be interesting to see what happens after the break too as we do look gassed, but also you can see where we could tweak the squad and add something extra. I'm not sure you could say that with City. Exciting times!
See you all next year.


text:
Music Inc. è un album discografico a nome di Music Inc. band capitanata dal trombettista jazz statunitense Charles Tolliver, pubblicato dall'etichetta discografica Strata-East Records nell'aprile del 1971.

Tracce
Lato A

Lato B

Musicisti
 Charles Tolliver - tromba
 Stanley Cowell - pianoforte
 Cecil McBee - contrabbasso
 Jimmy Hopps - batteria
Musicisti aggiunti
 Richard Williams - tromba
 Virgil Jones - tromba
 Larry Greenwich - tromba
 Danny Moore - tromba
 Jimmy Heath - sassofono tenore, flauto
 Clifford Jordan - sassofono tenore, flauto
 Wilbur Brown - sassofono tenore, flauto
 Bobby Brown - flauto
 Howard Johnson - tuba, sassofono baritono
 Garnett Brown - trombone
 Curtis Fuller - trombone
 John Gordon - trombone
 Dick Griffin - trombone
Note aggiuntive
 George Klabin - supervisore, produttore, ingegnere del mixaggio
 Registrazioni effettuate l'11 novembre 1970
 Joe Jorgensen - ingegnere delle registrazioni

Note

Collegamenti esterni
  (Titoli autori e durata brani, musicisti, crediti vari)
  (Titoli e durata brani, musicisti, produttore, data registrazione, data pubblicazione: aprile 1971)

redpajama_set_name: RedPajamaWikipedia


A neighborhood bakery located in the Short North Arts district since 1998. They specialize in creating custom cakes for any occasion. If you can dream it, they can make it! They offer a variety of delicious flavors to choose from and decorations from simple to extravagant. Call us at 614-421-0399 and let's talk dessert!


text:
'use strict';

module.exports = function (data) {
  this.socket.write(data + '\r\n');
  return this;
};

redpajama_set_name: RedPajamaGithub


The use of our website is usually possible without providing personal information. As far as on our sides personal data (for example name, address or E-Mail addresses) are raised, this takes place, as far as possible, always on freiwilliger basis. We only know the name of your internet service provider, the website from which you visit us, the websites you visit, and the like. This information (server log files) is evaluated for statistical purposes in order to optimize our website and the technology behind it. You remain anonymous as an individual user. These data will not be disclosed to third parties without your explicit consent.
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Not the Face of the Franchise is a place for the recognition of those not typically celebrated.
There are superstars in the world of sport. They are loved and they are admired. They deserve the spotlight their talent brings.
This site is will carry a regular NTFeature that profiles the under-appreciated. The sport will vary.
ntfof.com aims to be more evergreen than reactive. More interested in unearthing the positivity within sport than presenting criticism.
The success of this website -- like the people it chooses to feature -- isn't measured in visibility.
This is a site for the unsung hero.
And we sing quietly ... mostly to ourself.


Hologram are an English progressive rock band formed by musicians Dan Hotten and Matt Wilson in 2011. The band began as a three-piece, with Hotten, Wilson and Morrison, before bassist Matt Branigan joined in 2012. Hologram released their debut EP The Void in 2014. Some of the bands they have supported live include Zechs Marquise, Physics House Band, Moonlit Sailor and Empty Yard Experiment.


a. Very easy to operate single-handed.
b. Square shape fits well into shirt pockets.
c. Back has a good grip surface.
d. Has a hole for a lanyard/wristlet.
e. The keyboard has a solid feel to it.
g. Display is nice and clear (for basic use anyway).
h. Indicators on the display are large and clear.
i. The Bluetooth connects quickly and easily.
j. Speaker is not very clear, can't have it too high (or too much static on the other end), or it will be hard to understand.
l. The square shape will simply be too weird for some people (too short on the face), and it may be too hard to get used to.
m. The Function key and the Shift key operate in a strange way - you'll make quite a few mistakes in your texting until you get used to it.
o. Actually, the square shape is a bit of an illusion. While it is definitely shorter than most phones (when closed), it is only 1/4" wider than most phones.
p. Be wary connecting to "My Verizon" through the phone...you'll end up with occasional ads when you turn on the phone. They're quick to bypass, but still annoying.
q. I use my tablet for pictures, so I haven't tried the camera on this phone yet.
I switched from a smart phone to this one because all of my good stuff was done on my Tablet, and I didn't need the extra cost on my monthly bill. So far, the phone does the job with little hassle. I'm satisfied.


text:
A Mind Aflame
Paul Ketzle Summer 2010
Professor, writer, and editor Lance Olsen might make your head explode.
Photo by Roger Tuttle
As the author of 10 novels, four short-story collections, four critical studies, one hypertext, a poetry chapbook, and a textbook about fiction writing, as well as editor of two collections of essays about innovative contemporary fiction and chair of the board of edgy publisher Fiction Collective 2 (FC2), Lance Olsen is a bit of an academic and intellectual renaissance man.
Olsen, who arrived at the University of Utah to teach experimental narrative theory and practice in 2007, sat down recently to share his thoughts about his new novel, Head in Flames (Chiasmus Press, October 2009); the state of the current publishing industry; the rewards and challenges of working with students; and how artistic collaboration is a lot like a relationship—which in his case is doubly true, as his most frequent collaborator is his wife, artist Andi Olsen.
Can you talk a little about your impressions of the University of Utah English Department and what brought you here?
The U's English Department is remarkable for the wonderfully permeable membrane it has constructed between its creative and critical programs, its highly regarded Ph.D. program in creative writing (recently ranked top five nationally by The Atlantic Monthly), the sense of community it generates among its grad students and between those students and its diverse faculty. The easily fused and confused discursive spaces developed here allow one to engage in conversations that simply don't exist elsewhere.
Because of that environment, the department attracts a particular and particularly interesting sort of amphibious student—one, that is, who moves easily among theoretical, critical, and creative modes of being, aware that the more one explores them, the fewer the categorical differences one finds among them. Criticism thus becomes a subset of fiction, fiction a subset of theory, theory a kind of autobiographical poetry, and so forth.
What is the significance of having FC2 associated with the University of Utah?
FC2 is an independent publisher run by and for innovative authors. Rather than employing a commercial business model, FC2 employs a collective, collaborative one. Begun in 1974 by a handful of writers frustrated at the corporatization of the publishing universe in Manhattan, FC2 figured it would run for three or four years, bring out the work of a few innovative writers, then fold, mission accomplished. Imagine our surprise, then, that, 36 years later, we're in better shape than we've ever been.
The editorial board, board of directors, and the various elements of production are scattered across the U.S. With the essential help of my graduate assistant, FC2 Fellow Matt Kirkpatrick, I coordinate the whole from the University of Utah: production, editorial decisions, advertising, distribution, day-to-day conversations with authors, our two annual contests—one for authors looking to publish their first innovative novels and short-story collections, one for mid-career authors—and so on.
FC2's presence at the University gives students hands-on experience with how independent publishing works within the larger context of publishing in the U.S., and how publishing in the U.S. works within the larger context of the entertainment industry (commercial publishing, I should mention, is used by entertainment corporations for tax write-offs). For students, being near FC2, being involved in it in various ways, is an invaluable education in the pragmatics of the means of production and distribution in the contemporary book-making industry. In the land of theory and criticism, one often forgets such essential practical concerns as how experimental texts get found, get bound, and get out there.
In other words, you can focus more on the work itself than whether it will make you a lot of money.
It's the same difference one discovers in the music industry between the world of independent record labels and the world of big Lady Gaga business. New York publishing has increasingly become synonymous, not with serious literary investigations, but with books-as-entertainment—with novels, for instance, that want to be movies when they grow up.
The difference between that and what FC2 does is the difference between Britney Spears's vanilla pop tunes and Arcade Fire's alternative complexities. The really interesting stuff, at least by my lights, is happening, metaphorically speaking, down in the clubs, out in the garages.
FC2 can and does publish the sorts of books New York stopped imagining back in the early '70s because FC2 has decided to operate outside New York's economic constraints, beyond the deadly notion (at least to fiction in particular, and to the humanities in general) of the grotesquery called the bottom line. Adherence to the bottom line in the arts represents a failure of imagination.
How do you convince a hyper-ironic and skeptical generation of students, many of whom have grown up on these entertainment books, to think that there's something worth exploring in more challenging texts?
You know you're in the presence of experimental writing because you feel you need to develop a new language with which to speak about it. My goal in the classroom is to be a language instructor for one that doesn't yet exist.
The difference between entertainment and art has to do with the speed of perception. Art is designed to slow perception down so one can re-experience experience and thought. Entertainment is designed to speed perception up so one doesn't need to feel or think about very much at all. The books I teach are all about the former, all about learning how to slow down, defamiliarize one's engagement with the text of the text and the text of the world.
You might imagine students would grimace at such stuff, but it's just the opposite. This is the realism their culture(s) understand.
Some of your work walks the lines between nonfiction, fiction, and poetry.
I used to have a much better sense of the difference between fiction and nonfiction than I do now, much in the same way that I used to have a much better sense of the difference between fiction and poetry. I used to be able to go on and on with definitions and histories and marketing categories and such things. That is, I used to know a lot more than I do these days, thank goodness.
Or perhaps another way of putting it: I'm increasingly interested in post-genre concerns, increasingly comfortable conceptualizing a book like Head in Flames as a text that inhabits the blur-space among several modes of writing at once—a gesture which has the effect of questioning the idea of genre itself, critiquing such notions of disparate difference.
For me, Head in Flames (which centers on two narratives: Vincent van Gogh's suicide in 1890 just outside Paris, and the murder of his brother's great-grandson [Dutch filmmaker Theo van Gogh] in Amsterdam in 2004 at the hands of Mohammed Bouyeri) has qualities that align it with the novel (something like a plot, disrupted as it is; something like characters, despite them coalescing on the page quite differently from the way conventional characters might coalesce) and with poetry (its language and look share many more attributes with what we think about when we say "poetry" than with what we think about when we say "narrative").
The novel's repetitions and rhythms, its leitmotifs and refrains, however, have more to do, I think, with musical structures. It's concerned, too, with the materiality of the page, how texts matter, how page turns into stage, and in that way you can see it thinking continuously about its relationship to book art.
Can you describe how the collaboration works between you and your partner, Andi?
Right now we're working on a series of fake diseases for her ongoing installation called Freak Show—about how freaks are just like us, only more so. Once we began working together back in the late '80s and early '90s, the idea of the page lost its invisibility for me. The page became, as I say, matter, part of the authorship of any text.
I think of art in general and writing in particular as a possibility space where everything can and should be thought, challenged, attempted. Collaboration helps bring you into that space. Collaboration won't let you settle, and I enjoy that unsettled feeling. It's the place where appealing events happen.
One of the many things I love about working with Andi (and this is essential to any collaborative endeavor) is that something always results that neither one of us could ever have envisioned at the starting gate. The sum, in other words, is continuously more exciting, surprising, and liberating than the parts.
How wonderful is that?
—Paul Ketzle PhD'04 is an English instructor in the University of Utah's LEAP and Honors programs and an occasional contributor to Continuum.
For more of Ketzle's interview with Lance Olsen, click here.
Lance Olsen is a National Endowment for the Arts fellowship and Pushcart Prize recipient, and a former governor-appointed Idaho writer-in-residence. His novel Tonguing the Zeitgeist was a finalist for the Philip K. Dick Award, and his short stories, essays, poems, and reviews have appeared in hundreds of journals, magazines, and anthologies, including Conjunctions, Black Warrior Review, Fiction International, Iowa Review, Village Voice, McSweeney's, and Best American Nonrequired Reading. In addition to several American universities, he has taught in Oxford and London, on a Fulbright in Finland, at various writing conferences, and elsewhere, and his work has been translated into Italian, Polish, Turkish, and Finnish. Olsen's personal Web page includes the full text of his resignation letter to the University of Idaho: www.lanceolsen.com/bio.html.

redpajama_set_name: RedPajamaCommonCrawl


Microchip Technology Inc., a leading provider of microcontroller, mixed-signal, analog and Flash-IP solutions, has announced an expansion of the development platform for its growing portfolio of innovative 8-bit PIC® microcontrollers (MCUs) with Core-Independent Peripherals (CIPs). Designers can combine these building blocks to perform application functions autonomously, and they can be interconnected with an increasing amount of integrated Intelligent Analog peripherals. Because these functions are deterministically and reliably performed in hardware instead of software, CIPs enable system performance that is far beyond traditional MCUs.
In order to further reduce development time with these next-generation MCUs, Microchip is releasing Version 3.0 of the MPLAB® Code Configurator (MCC)--the most recent version of Microchip's free graphical programming environment--and adding three new development boards. The Curiosity Development Board is an entry-level, cost-effective tool that includes an integrated programmer and debugger along with options for easy external connectivity. The Explorer 8 Development Kit is a rapid proof-of-concept tool with extensive integration, and it supports the widest variety of 8-bit PIC MCUs. The PICDEM™ Lab II Development Board is a comprehensive development and experimentation tool, with an analog and mixed-signal focus. This development platform, when combined with the Core-Independent Peripherals, can significantly reduce total design time.
"For the last 20 years, most 8-bit MCU vendors have continued to release new products with essentially the same product feature approach," said Steve Drehobl, vice president of Microchip's MCU8 Division. "Add memory, expand pin count, increase the clock speed, and add more of the same peripherals. But embedded system design has changed, and now even the smallest applications have increased in complexity. We evolved the peripherals on our 8-bit PIC MCUs to be more deterministic and autonomous, so our customers can react quickly to changing market conditions with minimal code rewrites and very short validation cycles."
All four of these tools are designed to fit within Microchip's longstanding and free MPLAB® X Integrated Development Environment, and can be easily augmented via Microchip's rich ecosystem, including development partners such as MikroElektronika and Digilent. This platform enables designers to rapidly and intuitively bridge the evolved 8-bit PIC MCU peripheral architecture with their application software, making it even easier to build functions and applications.
MPLAB Code Configurator minimizes start-up time by reducing burdensome datasheet research and code implementation, while the hardware CIPs eliminate the verification of functionality in complex control systems. Version 3.0 allows engineers to configure both individual peripherals and high-level system functions that combine several CIPs, in just a few mouse clicks. MCC 3.0 also adds support for Microchip's libraries, such as TCP/IP, custom LIN drivers, and serial bootloaders, with future expansion plans for mTouch® capacitive sensing, USB, and RF protocols. Additionally, Microchip plans to release a Software Development Kit that will allow designers to add their own "often-used" 8- and 16-bit code snippets and/or libraries into MCC 3.0, for easy integration and configuration.
Curiosity is a cost-effective, fully integrated 8-bit development platform targeted at first-time users, makers and anyone seeking a feature-rich rapid prototyping board. It supports 8-bit PIC MCUs in 8-, 14- or 20-pin PDIP packages, and the board's layout and external connections offer full access to each MCU's Core-Independent Peripherals. External connectors include a mikroBUS™ header that supports more than 100 of MikroElektronika's Click add-on boards, as well as a PCB footprint that enables users to easily add Microchip's RN4020 Bluetooth® LE module for communication.
PICDEM Lab II is a development and teaching tool that gives users a large prototyping breadboard that enables them to easily experiment with different values and configurations of external analog signal conditioning and drive components for system optimization. This flexibility eliminates the hassle and expense of building a custom PCB in the early stages of a project. The board is also modular, allowing users to design a system with one or several PIC MCUs, simultaneously. Off-chip connections can be made in any manner the user sees fit, and the off-board expansion possibilities include several industry-standard interfaces in addition to a system of configurable connectors. Connections include two MikroElektronika Click board sockets, a 16-pin LCD module connector, and a 20-pin custom header for custom add-on boards. Microchip provides several labs to assist users in getting started quickly, ranging from simple MCU configuration to power conversion and Class D audio.
Explorer 8 enables a broad range of 8-bit MCU functions, including human-interface, power-conversion, Internet-of-Things, battery-charging and many other applications. It also has the greatest capacity for expansion in Microchip's 8-bit board lineup, with two Digilent Pmod™ interfaces, two MikroElektronika Click board sockets, and two expansion headers for custom add-on boards that designers can create as their development needs change. Explorer 8 also supports Microchip's standard PICkit™ 3, MPLAB ICD 3, and MPLAB REAL ICE™ programmer/debuggers.
The free MPLAB Code Configurator Version 3.0 is available now as a Beta download. The Curiosity Development Board (part # DM164137) is available now for $20. The Explorer 8 Development Kit (part # DM160228) is available now for $75. The PICDEM Lab II Development Board (part # DM163046) is available now for $100. For additional information, contact any Microchip sales representative or authorized worldwide distributor, or visit Microchip's Web site at http://www.microchip.com/CIP-090915a. To purchase products mentioned in this press release, go to microchipDIRECT or contact one of Microchip's authorized distribution partners.
0 comments on "Microchip Continues Driving 8-bit MCU Evolution With Innovative New Development Platform"


text:
It's a MVEMNT: $1,000,000 In Revenue Directed to Black Businesses In 2021
By: Candice Nicole Public Relations
MVEMNT
WASHINGTON - Feb. 8, 2022 - PRLog -- Lifestyle brand MVEMNT announced today they directed $1,000,000 to Black-owned businesses in 2021. The brand itself is at the intersection of entertainment and information started by Anwaa Kong. Initially, the brand launched as an app in October 2018 with the goal of celebrating Black culture and closing the wealth gap. Now, it operates as a full lifestyle brand with a website that produces daily content, a weekly newsletter, and producing events. MVEMNT had rapid growth during the pandemic and with growth, the company was able to direct $1,000,000 to Black businesses.
"Amplifying Black-owned businesses is at the core of the MVEMNT. We have a unique take on celebrating the culture while closing the wealth gap. So, how can we celebrate the culture while closing the wealth gap? This answer lies in Black Americans' $1.6 trillion spending power. Circulating the dollar in the Black community means more jobs, more economic security, and more wealth," states Anwaa Kong, Founder of MVEMNT.
Black-owned businesses will continue to be highlighted on the platform and in 2022, MVEMNT will double down on its core mission by highlighting Black entrepreneurs and creatives, by producing inspirational informative content, and producing intentional top-tier events such as their financial workshops. MVEMNT's ability to influence Black spending habits makes those workshops that much more impactful.
In the coming years, MVEMNT will continue to be at the forefront of directing Black dollars to Black businesses in the Black community, solidifying that supporting Black businesses is not a trend. It's a lifestyle.
To learn more about Washington D.C. Black-owned businesses, MVEMNT, and more visit https://www.mvemnt.com. In addition, stay connected with them on Instagram via @jointhemvemnt.
The amplifiers of black business & the drivers of entertainment. We inspire the culture & build economic equality. It's a movement, not a moment.
candice@candicenicolepr.com
https://www.prlog.org/12904329/1
: ***@candicenicolepr.com
: Black Business, Black-Owned, Small Business, Wealth
: Business, Culture, Lifestyle
: Washington - District of Columbia - United States
Candice Nicole Public Relations PRs
Tanya S. James Foundation Announces Plans to Build a School in West Africa in Partnership with ProSeed Foundation
Divorce Coach and Speaker Janine Bell Hosts Divorced Women's Retreat To Help Women Evolve Into Their New Chapter After A Divorce
Author and Acupuncturist Lindsay Fauntleroy Transforms Black Community through "Soul Medicine"
GRAMMY-Nominated Artist Carolyn Malachi Announces New Album Release, Counter Narratives
Thomas Jefferson's Monticello to Commemorate Juneteenth with "Ascendant: The Power of Descendant Communities to Shape Our Stories, Places, and Future"


text:
What is adrenochrome? Johnny Depp takes a fictional adrenochrome in Fear and Loathing in Las Vegas (1998).
SocietyApril 7, 2020
The truth about adrenochrome
By Josie Adams
Misinformation about adrenochrome and its supposed links to Covid-19 has gone into overdrive. But what is it? We separate the substance's literary history from its real-world functions.
Read more about the bizarre life of the 'truth about adrenochrome' story here
If you've spent much time online lately, like everyone else in lockdown, you've probably fallen down some strange Covid-19 rabbit holes. One word you might have seen is "adrenochrome". It's popular with the conspiracy set: it makes you young, or high, or part of a Satanic tribute. Before you become hypnotised by the swathes of Facebook comment threads, you should know how it got its mystical status.
Where have I heard of adrenochrome?
Aldous Huxley's 1954 essay "The Doors of Perception", written mostly about his experiences with mescaline, discusses the possibility that adrenochrome is a compound with similar effects to the psychedelic cactus. He has not taken it, and doesn't know how one would obtain it, saying just that it's spontaneously produced by the human body. He describes it as "a product of the decomposition of adrenaline", which is, surprisingly, correct.
There's a brief mention of "drencrom" in the 1962 novel A Clockwork Orange, where it's an optional addition to the cocktail (glass of milk) Moloko Plus, but probably the most cited use of the compound is in Hunter S Thompson's Fear and Loathing in Las Vegas. It might be a novel, but many assumed it was a real thing that people really did. Thompson did not explain the adrenochrome buzz in great detail, but this probably isn't too far from his vision:
It's important for anyone reading Fear and Loathing to remember that Gonzo journalism, the writing style Thompson invented, is based around fictionalisation and exaggeration of real-life events. In the DVD commentary on the 1998 Fear and Loathing adaptation, director Terry Gilliam said Thompson told him he made the whole adrenochrome thing up.
Does adrenochrome exist at all?
Yes. Just like Huxley said, adrenochrome is a compound formed by the oxidation of adrenaline. Its main medical use is to slow blood loss by promoting clotting in open wounds. It's available for purchase online by researchers, with most outlets stating its source is synthetic and its uses are the inhibition of COMT (which deactivates certain neurotransmitters), and the synthesis of prostaglandins (fats involved with blood clotting).
When asked for comment, the University of Auckland neuropharmacology and neuroscience departments said it wasn't on their radar.
It's got a cool name, and some medical uses, but by and large it's not a very exciting compound. Sorry.
Is there a hallucinogenic drug called adrenochrome?
In his 1973 book Legal Highs, Adam Gottlieb described adrenochrome as being "physically stimulating" and inducing "a feeling of well-being, slight reduction of thought processes". It's unknown whether he ever took the drug or if this was based on hearsay. Legal Highs also contained entries on catnip and guarana, so the bar for a "high" was low.
Most reports of adrenochrome throughout literature sound a lot like DMT — it's very possible Beatniks just gave DMT the cool name "adrenochrome" and the real compound got caught up in the mix.
Why are people talking about it now?
Adrenochrome is a popular topic in conspiracy circles: it's a drug of the Hollywood elite, it's addictive, it's harvested from tortured children in Satanic rituals, they reckon. The current strain of theory is that a huge amount of celebrities have come down with Covid-19 due to a tainted batch of adrenochrome.
Most celebrities classified as "liberal Hollywood elite" are American or British, two nations that have been struggling to manage the Covid-19 outbreak, so it's not hugely surprising that many have contracted the virus.
Adrenochrome harvesting, according to the conspiracies, is done by: drinking blood, heart surgery, or tapping into the brainstem. The adrenal glands are located above the kidneys, so that's probably where you really want to look.
Why does anyone believe children are tortured to harvest adrenochrome?
The blame must land on Hunter S Thompson. In Fear and Loathing, the character Dr Gonzo says: "There's only one source for this stuff… the adrenaline glands from a living human body. It's no good if you get it out of a corpse."
You could also argue that this conspiracy is weirdly similar to the plot of the film Monsters Inc., and maybe that's part of the cultural background making this theory seem reasonable to some.
Does adrenochrome have anything to do with Covid-19?
Are you, the mainstream media, lying to us about this?
Also no.
Are we ready to scrap the role of Children's Commissioner?
And is the government hoping no one will notice?
By Luke Fitzmaurice
However the Tova O'Brien case plays out, Three has already lost
A media breakup has turned very ugly – with stakes that could impact all of us.
The Single Object: The brutal beauty of Christchurch Town Hall's concrete
Concrete is a slurry of cement, water, air, gravel, stones and sand. In Christchurch it's also an essential part of the city's history.
By Jessica Halliday
How Covid vaccines upend our assumptions about protecting kids
Children shouldn't be asked to protect the adults in their lives, goes the common argument. But why not?
By Julie Spray
Why were thousands of native plants mowed down in an Auckland park?
Brace yourself for a series of unfortunate events.
Meet Aotearoa's cyborg kids
There are cyborg children among us, and they shouldn't have to pay so much just to live.
By Susan Wardell
For those with families in Tonga, it's the not knowing that's hard to bear
Right now, the silence is deafening.
By Sela Jane Hopgood
Pacific communities editor | Public Interest Journalism funded through NZ on Air
Scared of needles? This will help
Tips for kids nervous about getting their Covid vaccine, from a kid who knows.
By Emily Writes


text:
Q: How to do spell check on text area using element-io I am using element-ui, version 1.43.
I want to add spell-check in text area input(if I write something wrong then red line should appear below that text and on right click i can get suggestion).
How to implement it using element-ui.

A: If you're using an el-form & el-form-item to wrap your el-input type='textarea' elements, you can utilize the label slot to hook into native browser spellcheck functionality.
  <el-form>
    ...
    <el-form-item>
      <label slot="label" spellcheck="true">Notes</label>
      <el-input type="textarea"></el-input>
    </el-form-item>
    ...
  </el-form>

redpajama_set_name: RedPajamaStackExchange


text:
<?xml version="1.0" encoding="ISO-8859-1"?>
<ivy-module version="1.1">
    <info organisation="opensymphony" module="quartz" revision="1.5.2" status="release">

        <license name="Apache" url="http://www.apache.org/licenses/LICENSE-2.0"/>
        <description homepage="http://www.opensymphony.com/quartz/"> Quartz is a full-featured, open
            source job scheduling system that can be integrated with, or used along side virtually
            any J2EE or J2SE application - from the smallest stand-alone application to the largest
            e-commerce system. Quartz can be used to create simple or complex schedules for
            executing tens, hundreds, or even tens-of-thousands of jobs; jobs whose tasks are
            defined as standard Java components or EJBs. The Quartz Scheduler includes many
            enterprise-class features, such as JTA transactions and clustering. Quartz is freely
            usable, licensed under the Apache 2.0 license.</description>
    </info>
    <dependencies>
        <dependency rev="1.1" org="apache" name="commons-logging"/>
    </dependencies>
</ivy-module>


text:
by Tom Lombardi
Julie and I had been dating for almost a year when she slipped her vagina under my door on her way to work.
She was always going to work. Going to client dinners. Going to yoga. Going to meet a friend. Going to L.A. for business. Going to her stupid book club. "Going insane," she said, calling only a few days before she'd left it under my door.
"Going to have a heart attack," I told her.
"I know," she said.
"When is this going to stop, Julie? I mean, we live in the same building and never see each other. Relationships need to blossom, and this doesn't even feel like a relationship. I mean, you're married to your job. You know that, right? I mean...Christ, Julie, are you typing?"
"I know, I know, I know."
"For God's sake, Julie!"
"I'm sorry," she said.
Sorry. We both knew I would take every ounce of it, as I was out of work and having trouble leaving my apartment. Nonetheless, it was a relief to tell her how I felt.
A few days later, she slipped her vagina under my door. It was early morning when she knocked. I'd spent the night smoking almost a pack of cigarettes, worrying about my lack of job, or, more accurately, my lack of desire to get a job. What the hell was wrong with me? I couldn't answer the damn question. If I didn't work soon, I'd miss another month of rent. Proper authorities would show up to evict. Proper authorities would most certainly pound with their manly fists. "Open up!" they'd say. "Open up right this minute. We know you're in there."
"Go away!" I'd yell.
Wouldn't they laugh? Of course, since they'd have the key. "He wants us to go away."
It was her knock, all right, gentle knuckles she soothed with coriander lotion throughout the day. I got out of bed and hurried into the kitchen to greet her, only to spot her vagina lying there on the linoleum, its labia glistening atop the white napkin on which she'd placed it. I peered out the peephole. Gone. I thought about running after her, but the sidewalks would be filled with employees heading to the subway with purpose.
Leaning down to pick it up, I spotted my cat crouching between the wall and the stove, about to pounce. "Git!" I said. The cat did not git.
I brought the vagina to the sink and held it under a faint stream of water. It barely weighed a thing. I was tempted to chuck it out the window. Instead, I took it to my bed, where its familiar scent warmed my blood as I rubbed it in swirls around my nipples. I couldn't finish, so I called Julie at work.
"I'm so busy right now it's not even funny," she said, putting me on hold.
It'd be nice, I thought, if I could keep the vagina permanently on a pastel plate, encouraging it to a certain breath of life into my little home. What a stupid thought.
"Dammit!" I said into the phone. I was still on hold.
Julie came back on the line: "I've got a meeting. I'll call you back later, okay?"
"How about lunch today?"
"You don't understand," she said. "My meeting is a lunch meeting."
I folded the vagina inside the paper towel so I couldn't see it. "How about dinner then?"
Again with the silence, her soft breathing. I imagined her sitting there with her headset on, her perfect teeth, the bathy smell of her breath. I heard more breathing, some typing. Then: "You do have it, don't you? I know, leaving it under the door was pretty stupid. It's just that I was running so freaking late. You didn't drop it or —"
"Of course I didn't drop it."
"The cat didn't get it, did she? God, I totally forgot —"
"Meet me for lunch," I almost begged.
"I know how much pleasure it gives you."
"How about coffee?"
"I told you, I'm busy. Sounds like someone forgot what it's like to work."
"Ouch."
"I'm sorry, that was uncalled for. Listen, I'm just really swamped." The typing was getting louder. "I'll call you back, sweetie, I promise."
Dial tone. Damn.
The vagina was drying up, as it hadn't been touched in a while. It began to shrivel a bit on the dresser, losing its gleam. I didn't know what to do with it anymore. I was flickering my tongue tauntingly in gigantic circles when the phone rang. I knew she'd call back!
"You stinker!"
"Mom?"
"Oh, I was talking to your father. Well, look who's answering the phone."
"I'm on my way out."
"You get a job yet?"
"Well, you should get right with the Lord so you should!"
"The hell that's going to do me." I looked over to see my cat perched on the dresser, her nose about an inch from the clitoris. "Cut that out!" I yelled.
"Why're you yelling? Precious blood of Jesus be upon you."
"I can't take that talk anymore, Mom. I'm late for work."
"I thought you just said you were out of work."
"How's Dad?"
"Oh the doctor put him on new heart medication, and now they think he's got a gallstone. And there's his diabetes and blood pressure. You know your father, still eating hot dogs in the morning."
"What's new in your life?"
I placed the vagina inside the leather eyeglass pouch my ex-wife had left along with the cat and some cappuccino mugs, the last of which she wanted back, according to her latest postcard. She lived within fifteen minutes walking distance and had the nerve to send postcards.
"Sweetie," my mother said, "you there?"
On the subway, I pulled the eyeglass pouch out of my coat and held it. At the other end of the car sat a dark-haired couple. The guy whispered something into the woman's ear; she shrugged. They both laughed. I assumed his girlfriend's vagina remained where it belonged. The thought of him taking it to his parents' house for the weekend had probably never occurred to either of them.
The office smelled of new carpet. I gave the receptionist Julie's name. "It's important," I said. The receptionist, who couldn't have been older than twenty-one, was wrapping the phone cord around her fingers. She wore a tight T-shirt and skirt and had slim hands. I imagined her gently rubbing her clitoris with those delicate forefingers.
"I'm so sorry to hear that," the girl said into the phone.
I wondered if my mother was okay. If my father, getting older and sicker, was still yelling at her. If my sister's husband had been obeying the restraining order. All of a sudden I wanted to soar off a bridge. Not fall and die and cause a scene. Just soar.
Finally the girl hung up. "She didn't answer."
"Did you reach her assistant? That motherf— I mean, he always answers."
"Sorry, not this time."
"Yeah, well, I have to drop something off to her." I felt like holding the whole place up at gunpoint, but what the hell would I ask for?
"Tell you what," she said. "I'll put it in an interoffice envelope and make sure she gets it. How's that?"
"That wouldn't be a good idea," I said.
Outside, the sun was beaming. I was about to light a cigarette when I saw Julie step out of the elevator next to a guy with a thin mustache. How much care had gone into the trimming of his mustache! Why hadn't I thought of that?
They headed up the street. Julie laughed, her dark red hair bouncing all happily. Was the man a colleague or a friend? Or maybe her assistant, the guy with the panties-dropping deep voice who took my messages. She grabbed his arm and leaned in to laugh. I followed at a safe distance. They led me into a restaurant, where they sat at a table under a gigantic hanging frying pan.
I sat at a table to their far right and buried my nose in the eyeglass pouch, breathing. The vagina smelled faintly like my ex-wife's underarm at the end of the day, a wonderful mixture of human scent and baby powder.
Suddenly Julie let out a big "HAH!" the way she does. Mustache Man laid his hand in the middle of the table, and she cupped it like a baby bird.
I could have sat there for hours. It was the thought of leaving her behind that terrified me. In fact, my muscles began to relax. Sunlight entered the room, touching the various copper pans which hung from the ceiling. A Mexican busboy with remarkably white teeth filled my glass with water, which spilled onto the bread plate. "So sorry, sir."
"Don't worry about it," I said, taking the pouch off my nose. I was tempted to just hand it to him and run. What would the busboy do with it, I wondered. Would he take it to the bathroom and play with it? Would he give it to someone as a gift, or drop it in the lost-and-found box with all the hats and umbrellas? I was helping him clean up the water when I overheard the mustachioed guy say to Julie, "There's a great flea market downtown. Want to go?"
"For a scarf?"
"We can buy scarves."
"My grandmother used to knit them for me."
"Really? My grandmother canned pickles."
Neither of them seemed to care about the whereabouts or status of Julie's vagina. I couldn't get over this conversation!
On my second date with Julie, on the other hand, after we'd downed four or five pineapple margaritas, I asked if she'd go to the bathroom and remove her panties. She got up and left without saying a word. Moments later, she returned with a grin and handed over her purse. I peered inside, saw the yellow bunch of cotton and instantly went hard.
I marched over to Julie's table and said, "Hey."
"Oh," she said. "Hi."
"Did I startle you?" I extended my hand to the guy at the table. His eyes were the same color as his stupid-ass chocolate mustache.
"Hi," he said, grinning. "I'm Peter."
"Nice to meet you, Peter."
Julie's arms were folded. She was no longer offering cute, pickle-related smiles. I felt so comfortable in her presence, though, I could have joined them. I couldn't stop smiling.
"So what's up?" Julie said, chewing on the insides of her gums, a habit she'd picked up after quitting smoking. She looked annoyed, as if I were her younger brother following her around.
"You know me," I said, "just loafing around. Anyway, you left this, remember?" I handed the eyeglass pouch to her. She peered inside it and said, "Ha!"
A pink map appeared on her neck. These blotches would bloom on her chest when we made love, which we hadn't done in two weeks. When we did, Julie loved to be on top. I'd lay under her, clutching her arms, whimpering, biting into her shoulder to keep myself from wailing in joy. In the morning, she'd jump out of bed and dress hastily. I'd lie there with the sheets pulled up to my neck, staring. We'd have the same conversation over and over. "What?" she'd say, tying her sneakers, anxious to hurry back to her apartment upstairs. "Nothing." "What, what's wrong?" "Nothing." "Oh I'm sorry, sweetie. It's just that, I have to go to work, you know that." "I know, Julie, I know."
Now I was staring at her in a midtown diner, of all places. She stood up and I could smell her breath — as warm as soup — and I wanted to hug her husbandly. She just looked at me as if to say, "But I am not your wife."
I returned the look as if to say, "Believe me, I know that."
She returned the look as if to say, "I lost interest in you because you lost interest in yourself."
I returned the look, as if to say, "I know, Julie, it's not your fault. I'm a fool for wanting to keep all this. You never had time for me, anyway. But someday you'll really need someone. Someday I swear you really will."
Her nostrils opened wide and she gave me one of those stares that said lucky we're in public, otherwise I'd slap the shit out of you. I tried to picture what her father looked like. My throat went dry. Even though I knew I should leave, I just stood there.
"Excuse me," she said, hurrying off to the bathroom.
Peter held a glass of red wine to his lips.
I sat in Julie's seat and said, "I'm just giving back her vagina."
He laughed. Then he stopped laughing, rubbed his mustache with two fingers and said, "Come again?"
I stepped outside into a massive shadow. No reason to go home. I followed a throng of mothers into the park, their butts wobbling in unison as they guided their strollers along the paved path. They convened around a bench, breaking into diaper bags. I took a seat on the grass not too far away.
My heart started beating quickly, as if it'd just been replaced by a new one. For some reason, I couldn't stop picturing a toothpick embedded inside it.
"Looks like someone's stinky," one of the moms said. Another one made a comment. They all laughed.
Clouds passed by in mashed-potato mounds. Perhaps my own mother at that moment was praying for me, as she had an addiction to do. Maybe my ex-wife was thinking about me. Chances were slim.
When I was a kid, I woke up in the middle of the night and saw a man sitting on my brother's bed. It didn't seem like a dream. He was handsome, with dark hair. I wasn't scared of him, the way I might have been, say, terrified of seeing the devil at the foot of my bed, as my brother had once claimed. ("He had orange teeth," my brother had said.) I went over to the bed and sat beside this man. I even ran my hand through this strange man's hair as if I were the mature, consoling person in the room. That's all I remember. The next day, I told my mother. "Praise the Lord," she said, "that was your guardian angel!"
Orange teeth.
Maybe my guardian angel had dissented. Satan had, right? Who's to say it couldn't happen to another? Maybe, as I lay on the grass in the park, he was being robbed in a brothel somewhere in Southeast Asia, wondering what had become of me.
My ex-wife and I used to tell each other we'd be friends forever. We used to tell each other we'd go away together when she had time, when I found a job, etc. I imagined all the people in the city at the same time, on street corners, in their beds, in bathrooms, restaurants, subways, offices, hospitals, delis, parks, stairwells, cabs, gyms, planes, on phones. So many of them on the phone, all telling each other things, because, I guess, it's just what we do.
fav 826 views
This story was originally published in Nerve.com
Other stories by Tom Lombardi
WAR STORY 775 views
NAMASTE 966 views
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VENICE IN THE AFTERNOON 572 views
Elaine Chiew, Sep 11, 2008
Really enjoyed this. Perfectly titled and the description of the vagina was f-ing hilarious.
Gail Siegel, Sep 15, 2008
Really love the way this turns from funny and surreal to sad and serious at the end. So imaginative.


text:
Friday, September 27, 2013, 2:41 PM AKDT (Friday, September 27, 2013, 22:41 UTC)
Low-level seismicity continued at Veniaminof during the past week. No unusual activity was observed in satellite images, and webcam images were mostly obscured by clouds. AVO has received no other reports of activity at the volcano.
It is possible that this is only a temporary waning of activity in the eruption that began in June 2013, and that more vigorous activity could resume. Pauses in eruptive activity such as this are not uncommon at this volcano. AVO will continue to monitor the volcano closely.
Mount Veniaminof volcano is an andesitic stratovolcano with an ice-filled 10-km diameter summit caldera located on the Alaska Peninsula, 775 km (480 mi) southwest of Anchorage and 35 km (22 mi) north of Perryville. Veniaminof is one of the largest (~ 300 km3) and most active volcanic centers in the Aleutian Arc and has erupted at least 13 times in the past 200 years. Recent significant eruptions of the volcano occurred in 1993-95 and 2005. Both were moderate Strombolian eruptions producing intermittent low-level jets of incandescent lava fragments, and low-level emissions of steam and ash from the main intracaldera cone. During the 1993-95 activity, a small lava flow was extruded into the summit caldera ice field producing an ice pit. Minor ash-producing explosions occurred in 2002, 2004, early 2005, November 2006, and February 2008. Previous historical eruptions have produced ash plumes that reached 6,000 m (20,000 ft) above sea level and ash fallout that blanketed areas within about 40 km (25 mi) of the volcano.
No unusual activity was observed in satellite and webcam imagery over the past week. AVO has received no other reports of activity at the volcano.
Cleveland volcano forms the western half of Chuginadak Island, a remote and uninhabited island in the east central Aleutians. It is located about 75 km (45 mi.) west of the community of Nikolski, and 1500 km (940 mi.) southwest of Anchorage. The volcano's most recent significant eruption began in February, 2001 and it produced 3 explosive events that produced ash clouds as high as 12 km (39,000 ft) above sea level. The 2001 eruption also produced a rubbly lava flow and hot avalanche that reached the sea. The most recent minor ash emissions were observed in November 2012.
Seismic activity is monitored in real time at 29 volcanoes in Alaska. Satellite images of all Alaskan volcanoes are analyzed daily for evidence of ash plumes and elevated surface temperatures. Some volcanoes may currently display anomalous behavior but are not considered to be at a dangerous level of unrest. Akutan, Aniakchak, Augustine, Dutton, Fisher, Fourpeaked, Gareloi, Great Sitkin, Griggs, Iliamna, Isanotski, Kanaga, Katmai, Mageik, Makushin, Martin, Novarupta, Okmok, Pavlof, Redoubt, Shishaldin, Snowy, Spurr, Tanaga, Trident, Ugashik-Peulik, Ukinrek Maars, and Westdahl volcanoes are in color code GREEN and volcano alert level Normal. All are at or near normal levels of background seismicity. AVO did not detect ash plumes or significant elevated surface temperatures in the vicinity of any of these volcanoes.
Please see http://www.avo.alaska.edu/color_codes.php for complete definitions of Aviation color codes and Volcano alert levels.


Caleb and friends are up too early – but appreciating why they are. The camel crowd was speechless.
Poetry. Your words are poetry!
Looks like a promising day ahead!
Happy hour about to begin in the desert.
Like the old westerns, the hero rides off into the sunset.
And a beautiful sunset it was!
CALEB … I hadn't seen you yet!!
Smiling. TGIF right around the corner.
Love the light and shadow. Amazed at the number of camel pictures are available. Your choices are wonderful.
I like this one. Camels at a distance.


text:
Scientists: 2014 warmest on record
Seth Borenstein
WASHINGTON - For the third time in a decade, the globe sizzled to the hottest year on record, federal scientists announced Friday.
Both the National Oceanic and Atmospheric Administration and NASA calculated that in 2014 the world had its hottest year in 135 years of record-keeping. Earlier, the Japanese weather agency and an independent group out of University of California Berkeley also measured 2014 as the hottest on record.
NOAA said 2014 averaged 58.24 degrees Fahrenheit (14.58 degrees Celsius), 1.24 degrees (0.69 degrees Celsius) above the 20th-century average.
But NASA, which calculates temperatures slightly differently, put 2014's average temperature at 58.42 degrees Fahrenheit (14.68 degrees Celsius) which is 1.22 degrees (0.68 degrees Celsius) above the average of the years 1951-1980.
Earth broke NOAA records set in 2010 and 2005. The last time the Earth set an annual NOAA record for cold was in 1911.
NOAA also said last month was the hottest December on record. Six months in 2014 set marks for heat. The last time Earth set a monthly cold record was in December 1916.
"The globe is warmer now than it has been in the last 100 years and more likely in at least 5,000 years," said climate scientist Jennifer Francis of Rutgers University, who wasn't part of either research team. "Any wisps of doubt that human activities are at fault are now gone with the wind."
Texas A&M University climate scientist Andrew Dessler and other experts said the latest statistics should end claims by non-scientists that warming has stopped. It didn't, as climate denial sites still touted claims that the world has not warmed in 18 years.
2014's heat was driven by record warmth in the world's oceans that didn't just break old marks: It shattered them. Record warmth spread across far eastern Russia, the western part of the United States, interior South America, much of Europe, northern Africa and parts of Australia. One of the few cooler spots was in the central and eastern United States.
"Every continent had some aspect of record high temperatures" in 2014, said Tom Karl, director of NOAA's National Climatic Data Center.
Nine of the 10 hottest years in NOAA global records have occurred since 2000. The odds of this happening at random are about 650 million to 1, according to University of South Carolina statistician John Grego. Two other statisticians confirmed his calculations.
Climate scientists say one of the most significant parts of 2014's record is that it happened during a year where there was no El Nino weather oscillation. During an El Nino, when a specific area of the central Pacific warms unusually and influences weather worldwide, global temperatures tend to spike. Previous records, especially in 1998, happened during El Nino years.
Every year in the 21st century has been in the top 20 warmest years on record, according to NOAA.


Infinity trip 8      - Score more than 505 x 8.
Loyal 8              - Launch the game 7 times.
Multi 8              - Fight 10 Times in multiplayer online mode.
Pioneer 8infinity    - Beat 10 much stronger opponents in mulitplayer.
Repeatable 8         - Score more than 101 x 8.
Rollercoaster Master - Win 5 times with different people in multiplayer.
Having 8infinity codes, tips and tricks we dont have yet?


I was so disappointed when I got home last night. All day, I thought it was Wednesday, and I was super excited for the Top Chef finale. Turns out it was only Tuesday and I had nothing to watch. But today IS Wednesday – so tonight I have both Top Chef and So You Think You Can Dance.
Did you hear that Steven Tyler is in drug rehab after like 20 years of sobriety? Sad. I hope he comes through it okay and with renewed determination.
We've been watching In Plain Sight on USA. Pretty good, so far. I like Mary McCormick. I'm looking forward the the summer season: Mad Men, Burn Notice, The Closer, Psych, Monk, Saving Grace…good stuff. I'm not looking forward to NBC's "American Summer" programming: Celebrity Circus, Nashville Star, America's Got Talent. Yuck.