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Archive: 1982 – Liam O'Flynn & Andy Irvine  in conversation with Paul Magnussen
Note from Paul:
This interview took place in November 1982, in London. It was done for Guitar International; but by the time I had transcribed it, GI went through one of the lurches in editorial policy to which it was prone, and I was told that it would now only be interested in classical and flamenco guitar.
Around 1990 it lurched back, long enough for me to do the interview with Alec Finn (and transcription of De Dannan's version of Carrickfergus) that appeared in the October 1991 issue. I had intended to contact Liam and/or Andy to see about revising the old interview and using it; but before I could do this, the editor had died and the magazine folded. Transcribing a three-cornered interview presents some problems; in what follows, Liam's comments are in green, Andy's in blue, and mine in black italics.
LO'F: The Uilleann pipes are a distinctively Irish instrument. They began their development apparently about the year 1700, and they're developed out of our equivalent of the Scottish bagpipes. Exact dates are unknown about when the first reed was produced which you could overblow; (that is, produce a second octave, as opposed to the Scottish pipes which just have—I think—an octave and a note). They developed throughout the 18th century, and reached their present point of development about the year 1800—that's the bag, bellows, chanter, drones and regulators.
PM: So they came full-blown with the regulators, then? I thought maybe they were a later addition.
LO'F: No, I think around the last quarter of the 18th century there was maybe one regulator added. The full set has three, but you'll find sets with one or maybe two regulators. And actually, there have been sets made with five regulators—there's a set in the National Museum, made by the Moloney brothers from county Clare. It's incredibly large and heavy and not very practical.
PM: What's cranning? And what about other kinds of ornamentation?
LO'F: Well, probably the most common ornament would be a roll, and that's common to all instruments that play traditional music. Cranning is a roll on the bottom D of the chanter, that's the bottom note and…. it's hard to describe: it gives a sort of gurgling effect, which is peculiar to the pipes. The bottom D is played, and then it's ornamented with with two or possibly three other notes, like an F and a G and an A. But they won't come out F, G and A, because you're just using the fingers that make those notes, but you're not… it's very hard to describe!
PM: So the compass goes from D to what?
LO'F: Two octaves.
PM: And the drones?
LO'F: There are three drones, tuned to three octaves of D. The high drone is tuned to the bottom D, the lowest note of the chanter, and the next one an octave below that, and the bass drone an octave below that again.
PM: So most of the tunes would probably be in D or G, then?
LO'F: Right. Or A minor and E minor.
PM: Would you switch the drones off when you play in A minor?
LO'F: No, it works.
PM: Would you play in A major?
LO'F: No, you haven't got the full range of sharps that you need in A major.
PM: How do you get sharps normally?
LO'F: The chanter is fitted with keys. You can have enough keys fitted to play a chromatic scale, but when you come to fast tunes it's not very practical.
PM: The two collections I know best are O'Neill's and Brendan Breathnac's. Are there any other major ones?
LO'F: Not really. O'Neill's was the Bible for years, until Brendan produced his… two collections, now, and a third in the pipeline.
AI: Pat Mitchell's collection.
LO'F: Oh, right. I forget how many tunes are in it—about 150, I suppose. But it's the music of Willy Clancy.
PM: Listening to Séamus—and a lot of other pipers, as well—I notice they don't seem to use the regulators much.
LO'F: Well, Séamus used the regulators quite a lot in a very thought-out sort of way. But he didn't just hammer about with them. But it seems most pipers don't use the regulators much, possibly because of the difficulty of keeping them in tune.
PM: I gather it is a difficult instrument to keep in tune?
LO'F: It is. It's very affected by extremes of temperature. Very hot, humid atmosphere affects it. Really, the problem is if you bring the instrument from a cold atmosphere, a car or something, into a hot sticky room, you're in big trouble; you have to let it acclimatise gradually.
PM: You've learned from, and been friends with, all the great pipers: Willy Clancy, Séamus…
LO'F: Initially with Leo Rowsome, and then with Willy Clancy and Séamus Ennis.
PM: Did you ever know Johnny Doran?
LO'F: No, I didn't. Although I believe he played in our house at home, but I was only a tiny baby at the time. But I'd love to have heard him. His brother, Felix Doran, is a very good piper.
PM: Would you like to say something about "The Brendan Voyage", and how you came to make it?
LO'F: It's a collection of pieces describing Tim Severin's voyage in a leatherskin boat, the St. Brendan, from Co. Kerry in the West of Ireland to Newfoundland. Tim Severin did the voyage to demonstrate that it could have been possible in a 6th century boat, that they could have made the voyage: they definitely did a lot of sailing, apparently. And there's a legend that's written down, that describes St. Brendan's voyage across the Atlantic. Anyway, Severin showed that it would have been possible. And Shaun Davey, the man who wrote the music, was fascinated with Severin's voyage and decided that he'd like to write a piece of music for the Uilleann pipes, describing the voyage or some part of it.
So he wrote a short piece and gave it to me, and it worked well, and he wrote another piece, and another one; and eventually, he decided to go the whole hog and write a suite and orchestrate it. The whole thing took about a year. In his scheme, the pipes represent the boat and the orchestra represents the elements—the storm, the sea and all the rest of it.
He really got to understand the pipes and their limitations, what was possible and what wasn't—the keys you play in, and writing music that's going to fit the instrument. Very often, when he'd produced a particular piece of music, I'd go off and learn it, and find parts that just wouldn't work very well on the pipes, and redo them.
PM: How do you think folk music has changed in the last 30 years? Do either of you see a problem with records "freezing" versions of tunes, where people just copy a record instead, perhaps, of re-inventing?
LO'F: Well, the different styles have tended to disappear. Whereas once upon a time you could recognise where a particular fiddle-player came from by his style…
AI: I think imitation is not a bad start—anybody who's got a spark of musicality about them will not stop at imitation…
PM: Who was your first idol?
AI: Woody Guthrie. I tried really hard to get all his mistakes absolutely right!
PM: Yes, those were the days when there was no editing—they just stuck you in front of a microphone, and if you made mistakes that was too bad. I have a record called More songs from Woody and Cisco, where they forget the words, so they tell Sonny Terry to play it again…
AI: Well, there's more mistakes on that record than you could shake a stick at. There's a great ending—they all end together except Sonny Terry…Of course, those recordings were made at two or three different times, some of those albums are confusing.
PM: So did you start playing Woody Guthrie in clubs? Or had you moved on to something else before you started playing in front of people?
AI: No, I played Woody Guthrie—I think the first time was in 1962.
PM: And then you just got caught up in the "Folk Revival"?
AI: I suppose I did, yes. There were other people with like minds at the time: Johnny Moynihan used to sing "Van Diemen's Land", accompanying himself on 4-string mandolin, which is an incredibly tiny sound, but very effective.
I played the mandolin a bit, and I stuck by that, accompanying myself on traditional songs.
I'm not quite sure when Woody Guthrie faded out—he hasn't exactly faded out, it's not too long since I got up and did "Talking Dustbowl Blues", or something like that..
PM: So this led to Sweeney's men, did it?
AI: It did, yes, a direct chain of events.
PM: Right. And then of course Johnny brought the bouzouki along. That's quite a lot to answer for—guitars are disappearing. He unleashed the bouzouki on the folk world!
AI: Well, he wasn't… like, the band that was the forerunner of Sweeney's men, which went under the name of The Foc'sle Folk Group (because it played six nights a week in The Foc'sle bar in Galway)… he wasn't actually in that band, but Johnny was working as an architect, and he used to come down from Dublin at weekends and play with us.
One day he turned up with this bouzouki; and we said, "What in the name of Hell is that?"
And he said, "I've swapped my mandolin for it". And he played the bouzouki with us, and our first reaction was "Jesus, Johnny, that's awful! Could you not get the mandolin back?" It largely sounded brutal, because it was always going out of tune.
PM: Was that a four- or three-course bouzouki?
AI: Four.
PM: How did Johnny tune it?
AI: Between us we had two tunings: one was GDAE; and one was GDAD, which is the one I use exclusively now. But I think he's gone back to GDAE.
PM: What does Donal (Lunny) use?
AI: GDAD. He got his first bouzouki from me. The passing on of the bouzoukis…
PM: The three of you have got very different styles, as well…
AI: Yes, the sublimation of bouzouki styles is quite dramatic, you could write a Ph.D. on that, because it has a definite starting point in 1966.
PM: Has the instrument now shifted away from the Greek one?
AI: Totally. People always say to me after a gig now, "What is that instrument you were playing?" And I feel very foolish, because I always say "I have no name for it." We're still calling it a bouzouki, but in fact it's totally different.
PM: What's different about it now?
AI: It's flat-backed, the sound is different, I don't use octave strings, it's tuned differently—it would actually be closer to call it a lute.
PM: Didn't Donal coin the name "Blarge"?
AI: Well, that was a joke name, on one record, which stuck; it was a 10-stringed instrument, big-bodied; the first one was burnt in a fire.
PM: But Alec (Finn) only uses a three course instrument, doesn't he? But the first time I heard him (on the Gold Ring), I thought it was two people.
AI: Alec's style's tremendously well thought out: I've never managed to analyse it.
PM: I don't think you can.
AI: Well, I intend to try; I've watched him play countless times, and I know his basic right hand style; but it's difficult for me to get, because it's slightly strange, with syncopated back plectrum strokes.
That record with just him and Frankie (Gavin) would give most accompanists a feeling of "Oh my God, what can I possibly do different on this next set of reels?" But Alec doesn't think like that at all, he just plays—and he plays in such an uninhibiting way that it would almost be possible to listen to that record without realising there's a bouzouki on it; because it doesn't distract at all, it doesn't even pull (the fiddle) into a different dimension.
LO'F: And that's the biggest compliment you could pay it.
PM: Yes, I think that's one of the best fiddle records I've ever heard, for that reason.
AI: I think it's a brilliant record.
PM: Because… OK, Michael Coleman was great, but you've got these piano-drivers clomping away…
AI: Playing the wrong chords… I love that one where Michael Coleman goes from A minor into G, and the pianist hasn't been told (why not I'll never know), and he's still playing in A minor… and also, the sweat is pouring down his face and he doesn't know what to do… so he just plays in A minor, all the time.
PM: I can't imagine why they didn't just try to pick it up. Were they so classically trained that they couldn't improvise?
AI: Yes, I can't imagine who these piano-players were. Were they drinking cronies?
LO'F: No, no, they were foisted on him, he had to have them. They were employed by the record company.
AI: But where did they get them?
LO'F: (Shrugs)
AI: I think there's a recording of Michael Coleman without a piano-driver. That'd be interesting to hear, because I find his records coloured so much by the piano, I can't really tell…
Obviously, the lacking is in me, because every fiddle player that ever lived talks about Michael Coleman, he was great.
PM: Did you learn an instrument when you were young?
AI: No, I didn't. for my thirteenth birthday I wanted a 'cello, but my parents couldn't afford it; so they gave me a guitar, which was (I think) the cheapest guitar they could lay their hands on. But I quickly managed to get a better one.
PM: You had a Portuguese Guitar, too, didn't you? How did you get hold of that? Have you still got it?
AI: I traded a Gibson L2 for it from a guy called Trevor Crozier, an erstwhile folk musician.
In theory I've still got it, but I lent it to someone and I can't remember who they are. So if they're reading this, they might own up…
It was a nice instrument, but it had a very convex fingerboard, and it was hard playing on the top strings.
PM: Weird machine-heads…
AI: Yes, but they're pretty good, those machine-heads: they maintain the tuning of the instrument better (in my experience).
PM: I wanted to ask you about your arrangements: there's obviously a lot of care gone into them. How much time does an arrangement take you, typically?
AI: Years. Literally years.
PM: Does it evolve, or do you do the arrangement in one go?
AI: It evolves. It evolves in the rehearsal stage, over a very long time. It takes months, actually, to get it to the stage where one can perform the singing of it and the accompaniment at the same time, where the actual playing of it becomes second nature. It's a question of time, you have to get the accompaniment so that you never have to think of it.
PM: And finally: how much are you concerned with "authenticity"?
AI: Not in the least. Authenticity is in the eye of the performer.
© 1982 Paul Magnussen
Source: http://www.andyirvine.com/disc/interview.html (dead link)
Posted in Archive, Interview and tagged 1982, Andy Irvine, Liam O'Flynn, Paul Magnussen on December 23, 2016 by Andy Irvine Fanblog. Leave a comment
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Puertas (municipality). It has a population about 82 inhabitants, the area is about 62,20 km², it belongs to Provincia de Salamanca, its autonomous community is Castilla y León, its density is 1,32, its number of homes is 61 , 60 buildings are registered in this place, it has 43 counted men, it has 39 counted women, the average altitude is 784,34 m, there are 1,24 males for each female. There is information in Classora Knowledge Base about 11 rankings, reports and surveys. (edit this text)
Puertas (municipality). It has a population about 82 inhabitants, the area is about 62,20 km², it belongs to Provincia de Salamanca, its autonomous community is Castilla y León, its density is 1,32, its number of homes is 61 , 60 buildings are registered in this place, it has 43 counted men, it has 39 counted women, the average altitude is 784,34 m, there are 1,24 males for each female. There is information in Classora Knowledge Base about 11 rankings, reports and surveys.
Name: Puertas
Municipality: Puertas
Province: Provincia de Salamanca
(Latitude, Longitude): (41.105865, -6.262823)
Average altitude: 784.34 meters
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Recreating a Southern favorite, making Sriracha Deviled Eggs perfect for entertaining at home or to take along to potlucks and parties. A super easy recipe!
It is always nice to have easy ideas for serving appetizers when entertaining at home or when bringing tasty bites to a holiday potluck so I decided to recreate a Southern favorite and made Sriracha Deviled Eggs. Super easy to make and so good!
Deviled eggs without a doubt a Southern cuisine staple; the traditional recipe has mayo, cooked eggs yolks, sweet pickles, pimentos and salt and pepper. You can take this as a base to create many flavors and that is how I came with the idea of making Sriracha Deviled Eggs replacing the sweet pickles with mustard and the pimentos with sriracha.
Recreating a Southern favorite, making Sriracha Deviled Eggs perfect for entertaining at home or to take along to potlucks and parties. A super easy recipe. It is always nice to have easy ideas for serving appetizers when entertaining at home or when bringing tasty bites to a holiday potluck so I decided to recreate a Southern favorite and made Sriracha Deviled Eggs. Super easy to make and so good!
Remove the cooked yolk of each egg and place in a bowl. With a fork mash the yolks and then add the thyme and the chives.
Add the mayo, the mustard, the sriracha sauce and season with salt and pepper to taste and mix well.
Scoop the mix into a plastic bag, seal and cut one of the ends. Pipe the mix into each of the egg white halves.
Garnish with parsley leaves, a dot of sriracha sauce. Refrigerate until ready to enjoy. Sprinkle paprika before eating for a more colorful presentation.
- Keep eggs at room temperature before cooking.
- Place the eggs inside a pot and top with cold water. Do not overcrowd the pot with too many eggs for better results use a bigger pot and add more cold water.
- Cook on high heat and bring the water to a full rolling boil. Then turn off the heat, cover, and let sit for 10-12 minutes. After that time eggs will be cooked.
- Strain out the hot water from the pot and run cold water over the eggs to cool them. That will stop them from cooking further and get over-cooked.
- You can also cook the eggs using the sous vide technique at a 165°F temperature for 2-3 hours to get a non rubbery white.
You can also add a twill of bacon or decorate with green olives and even replace the mayo with avocado. Deviled eggs are such a flexible recipe, you can become very creative when recreating your own deviled eggs recipe until you decide which is the winning combination.
This Sriracha Deviled Eggs recipe is using farm eggs from a local farm I visit near my home. I truly believe it is a good thing to support your local farmer and to use what is available fresh locally.
As a precaution, I like to clean the farm eggs with running water and soap before using to remove any debris since you never know if those could have residue from the chicken coop.
Keep eggs at room temperature before cooking.
Place the eggs inside a pot and top with cold water. Do not overcrowd the pot with too many eggs for better results use a bigger pot and add more cold water.
Cook on high heat and bring the water to a full rolling boil. Then turn off the heat, cover, and let sit for 10-12 minutes. After that time eggs will be cooked.
Strain out the hot water from the pot and run cold water over the eggs to cool them. That will stop them from cooking further and get over-cooked.
You can also cook the eggs using the sous vide technique at a 165°F temperature for 2-3 hours to get a non rubbery white.
My recipe for Sriracha Deviled Eggs is perfect as a take along for parties and potlucks. I invite you to try this recipe and make it your own.
Deviled eggs are always a hit. I love that you added delicious spice to them.
Deviled eggs disappear so quickly at our family dinners, these sound really good!
These would be such a hit in my house – I love deviled eggs and my hubby loves sriracha, so we'd both go crazy for these!
I love deviled eggs. They always disappear too quickly at our family feasts. I love how festive yours look with the red sriracha and green parsley garnish.
These look so pretty and yummy! Love the touch of red and green for Christmas!!!
OMG, these look so good! My deviled eggs never come out this pretty. 🙂 Thanks for the recipe amiga!
I think I might be the only one who hasn't tried Sriracha. It looks like it would add quite the punch to it. Deviled eggs are my favourite!
Que delicia y novedosa receta. Me encantó!
This looks wonderful!! I love the combination, I can't wait to make this recipe. Thank you for the idea.
I've never done Devil eggs before. Your recipe looks easy and the pictures are making me want to make them soon.
Que rica adición a la receta. Me diste una buena idea para las fiestas.
these look amazing. My whole family loves deviled eggs so I'll have to try this.
Que buena idea para llevar a una cena!
Está maravilloso esto para las fiestas; este año quiero variar un poco y esta receta está espectacular, gracias !
I can taste these through the screen! They look gorgeous!!!


Davies "Wax-N-Kleen" floor maintenance system eliminates mixing solutions – flooding the floor with scrubbing solutions – wet vacuuming – double rinsing – detail clean up – final step of applying floor finish.
One man applies the Davies "Wax-N-Kleen" while operating the floor machine. He pushes a lever on the handle to release the Davies "Wax-N-Kleen" and the machine equipped with Davies SPEICAL FLOOR PAD does the work removing all so il including black heel marks and applies a high shine floor finish in one operation. Pre-wet mopping or pre-dust mopping is NOT NECESSARY with Davies "Wax-N-Kleen" maintenance system. A 4-man job becomes a 1-man job allowing more efficient use of manpower.
You can not measure a floor maintenance system in man power alone – floor finish durability, mark resistance – brilliance of gloss – extent of anti-slip are important factors that determine quality floor maintenance. Davies "Wax-N-Kleen" excels in durability, black mark resistance and anti-slip qualities. Davies "Wax-N-Kleen" is proving to be the most effective labor saving floor maintenance system available. It is consistent – by far faster – a real "FLOOR SHOW".
Doing floors on off hours. All floors can be done during high traffic working hours without disrupting traffic and without having any slippery spots (a phenomenal labor savings).


Today, one of the most critical aspects of a concurrent application is shared data. When you create thread that implements the Runnable interface and then start various Thread objects using the same Runnable object, all the threads share the same attributes that are defined inside the runnable object. This essentially means that if you change any attribute in a thread, all the threads will be affected by this change and will see the modified value by first thread. Sometimes it is desired behavior e.g. multiple threads increasing / decreasing the same counter variable; but sometimes you want to ensure that every thread MUST work on it's own copy of thread instance and does not affect others data.
For example, consider you are working on a eCommerce application. You have a requirement to generate a unique transaction id for each and every customer request this controller process and you need to pass this transaction id to the business methods in manager/DAO classes for logging purpose. One solution could be passing this transaction id as a parameter to all the business methods. But this is not a good solution as the code is redundant and unnecessary.
To solve that, here you can use ThreadLocal variable. You can generate a transaction id in controller OR any pre-processor interceptor; and set this transaction id in the ThreadLocal. After this, whatever the methods, that this controller calls, they all can access this transaction id from the threadlocal. Also note that application controller will be servicing more that one request at a time and since each request is processed in separate thread at framework level, the transaction id will be unique to each thread and will be accessible from all over the thread's execution path.
The Java Concurrency API provides a clean mechanism for thread-local variables using ThreadLocal class with a very good performance.
get() : Returns the value in the current thread's copy of this thread-local variable.
initialValue() : Returns the current thread's "initial value" for this thread-local variable.
remove() : Removes the current thread's value for this thread-local variable.
set(T value) : Sets the current thread's copy of this thread-local variable to the specified value.
Below example uses two thread local variables i.e. threadId and startDate. Both have been defined as "private static" fields as recommended. 'threadId' will be used to identify the thread which is currently running and 'startDate' will be used to get the time when thread started it's execution. Above information will be printed in console to verify that each thread has maintained it's own copy of variables.
Now to verify that variables essentially are able to maintain their state irrespective of multiple initializations for multiple threads, let's create three instances of this task; start the threads; and then verify the information they print in console.
In above output, sequence of printed statement will vary everytime. I have put them in sequence so that we can clearly identify that thread local values are kept safe for each thread instance; and never intermixed. Try yourself.
Most common use of thread local is when you have some object that is not thread-safe, but you want to avoid synchronizing access to that object using synchronized keyword/block. Instead, give each thread its own instance of the object to work with.
A good alternative to synchronization or threadlocal is to make the variable a local variable. Local variables are always thread safe. The only thing which may prevent you to do this is your application design constraints.
In wabapp server, it may be keep a thread pool, so a ThreadLocal var should be removed before response to the client, since current thread may be reused by next request. Also, if you do not clean up when you're done, any references it holds to classes loaded as part of a deployed webapp will remain in the permanent heap and will never get garbage collected.
InheritabelThreadLocal is used in the situation of Parent Thread-Child Threads resource sharing.
It can be used when Child Thread wishes to utilize the local variables of it's parent thread.
you said in the introduction "all the threads share the same attributes that have been defined inside run() method".
I think you wanted to say : all threads share the same attributes of the runnable object, because attributes defined inside run method are not sharable, they live in the stack and every thread has its own stack.
You are right. It is a mistake indeed. Corrected it. Thanks for pointing out.


The David Letterman Communication and Media Building houses the office of our College of Communication, Information and Media and its Departments of Telecommunications and Communication Studies. Commonly called the Letterman Building, the structure is named in honor of David Letterman, the university's most prominent alumnus, who attended its dedication in 2007. It features state-of-the-art production facilities and is the home of both Indiana Public Radio and the student-run radio station WCRD-FM. The Art and Journalism, Letterman, and Ball Communication buildings are connected and form a communications complex.
David Letterman, former host of Late Show with David Letterman, Class of 1969. Letterman has given back generously to his alma mater, most notably through a lecture series in his name.


text:
MoviesReviews
SXSW Review: Best Summer Ever
A fabulous new take on the musical genre
By Sian Francis Cox March 19, 2021
We're at SXSW… kind of! The event is taking place virtually this year so while we're all watching movies online we're still bringing you coverage of the best film festival of the year. Check out all of our SXSW 2021 coverage.
Part Grease, part High School Musical, Best Summer Ever is a musical taking on the high school genre with a fully-integrated cast of people with and without disabilities. The conversation around inclusion, disability, and representation in Hollywood needs to be changed — starting with creating inclusive films. From that standpoint, it's a pioneering production and a really wild ride.
Best Summer Ever
Director: Michael Parks Randa and Lauren Smitelli
Release date: March 18, 2021 (SXSW)
Best Summer Ever is a lot of fun, full of actors and young people who are all so talented. I'm glad that the storyline hasn't been specifically diluted for people with disabilities: the writers' goal is to treat the film like a traditional high school story where everyone is equal and the storyline isn't contrived specifically around disabilities. It's presented with closed captions for accessibility and the film is wholly inclusive in its cast and crew.
The plot's driven by the usual hallmarks of the genre: Anthony (Ricky Wilson Jr.) is a popular quarterback hiding the fact that he spent the summer at dance camp, and he meets Sage (Shannon DeVido), a girl who is always on the move with her family. The highest-stakes part of the film is that Tony might get exposed as a dancer to his high school, when the entire school seems to count on him to win this year's football season, breaking a 25-year losing streak for the team.
There's a really bizarre storyline in which Sage's two mothers grow cannabis for medicinal use, so they're always on the move, traveling around the country seeking out the next growing season. It has a lot to do with their very anti-establishment philosophy and it seems to ring true throughout the entire film, affecting each of the characters.
True to the genre, it can feel a bit cliched at times, but it's all part of the fun. The rival cheerleader Beth (Madeline Rhodes) is brilliantly over-zealous, stringing along with a group of followers who do her bidding. A plot unfolds beneath the subplot of the teen romance, as Beth sets out to sabotage Sage's new life. She's no match, though, for the pair of savvy teens and their plan to confound everyone's expectations of them.
If the plot felt contrived at times, I couldn't have predicted the madness of the ending. It took a turn I didn't expect and gave villains their comeuppance, meting out justice with plenty of slapstick comedy. A special mention has to go to Emily Kranking who plays Nancy, Sage's first friend in her new town, and the actor responsible for some of the best comedic delivery of the film.
In the end, Tony reconciles two of his passions – football and dance – with a little help from Sage. And the finale is an explosive, show-stopping number that rounds everything up just as you'd hope. There's a bonus end-credit sequence showing the cast and crew in rehearsals, and not only is it representative, it's clear they're having a blast. Best Summer Ever is a fun, heartwarming, and inclusive film for this year's festival, the likes of which we need to see more of in Hollywood.
It's easy to like this one. Some minor gripes here and there, but still fun.
Part Grease, part High School Musical, Best Summer Ever is a musical taking on the high school genre with a fully-integrated cast of people with and without disabilities.
Sian Francis Cox
Sian is Flixist's UK Editor and has written for sites including Escapist Magazine, Destructoid, and Film Enthusiast.


text:
Q: How can I configure and print with an HP LaserJet 1000? Could anyone help me to configure printer? I tried googling but haven't found anything.
EDIT:
system->administration->printing there are no printers and cant add new one, add button is unclickable
at the beginning I didn't try to add printer and was installing those drivers, maybe I ruined something? I used this guide ubuntuforums.org/archive/index.php/t-112556.html by maulattu 3rd post..

A: Try downloading and the latest HP printer drivers.  I prefer this over using the ones that come with Ubuntu or Ubuntu's repository.
http://hplipopensource.com/

redpajama_set_name: RedPajamaStackExchange


text:
Q: React + D3 Force Layout: new Links have undefined positions I believe I've followed the general update pattern on new React Props. D3 does the data calculation and rendering when new props are received, so that React does not have to render every tick.
D3 works well with a static layout. But when I receive new nodes and links at shouldComponentUpdate(nextProps) function, the nodes lack the following attributes:

*

*index - the zero-based index of the node within the nodes array.

*x - the x-coordinate of the current node position.

*y - the y-coordinate of the current node position.

As a result, all new nodes have <g tranform=translate(undefined, undefined)/> and are clustered at the left top corner.
The way I update the props are by pushing new objects to the nodes array and links array. I don't understand why D3 doesn't assign d.x and d.y as it did for the initial setup at componentDidMount(). I have been struggling with this problem for days. Hope someone can help me out here.
Here is the ForceLayout.jsx:
//React for structure - D3 for data calculation - D3 for rendering

import React from 'react';
import * as d3 from 'd3';

export default class ForceLayout extends React.Component{
  constructor(props){
    super(props);
  }

  componentDidMount(){ //only find the ref graph after rendering
    const nodes = this.props.nodes;
    const links = this.props.links;
    const width = this.props.width;
    const height = this.props.height;

    this.simulation = d3.forceSimulation(nodes)
      .force("link", d3.forceLink(links).distance(50))
      .force("charge", d3.forceManyBody().strength(-120))
      .force('center', d3.forceCenter(width / 2, height / 2));

    this.graph = d3.select(this.refs.graph);

    this.svg = d3.select('svg');
    this.svg.call(d3.zoom().on(
      "zoom", () => {
        this.graph.attr("transform", d3.event.transform)
      })
    );

    var node = this.graph.selectAll('.node')
      .data(nodes)
      .enter()
      .append('g')
      .attr("class", "node")
      .call(enterNode);

    var link = this.graph.selectAll('.link')
      .data(links)
      .enter()
      .call(enterLink);

    this.simulation.on('tick', () => {
      this.graph.call(updateGraph);
    });
  }

  shouldComponentUpdate(nextProps){
    //only allow d3 to re-render if the nodes and links props are different
    if(nextProps.nodes !== this.props.nodes || nextProps.links !== this.props.links){
      console.log('should only appear when updating graph');

      this.simulation.stop();
      this.graph = d3.select(this.refs.graph);

      var d3Nodes = this.graph.selectAll('.node')
        .data(nextProps.nodes);
      d3Nodes
        .enter()
        .append('g')
        .attr("class", "node")
      .call(enterNode);
      d3Nodes.exit().remove(); //get nodes to be removed
      // d3Nodes.call(updateNode);

      var d3Links = this.graph.selectAll('.link')
        .data(nextProps.links);
      d3Links
        .enter()
        .call(enterLink);
      d3Links.exit().remove();
      // d3Links.call(updateLink);

      const newNodes = nextProps.nodes.slice(); //originally Object.assign({}, nextProps.nodes)
      const newLinks = nextProps.links.slice(); //originally Object.assign({}, nextProps.links)
      this.simulation.nodes(newNodes);
      this.simulation.force("link").links(newLinks);

      this.simulation.alpha(1).restart();

      this.simulation.on('tick', () => {
        this.graph.call(updateGraph);
      });
    }
    return false;
  }

  render(){
    return(
      <svg
        width={this.props.width}
        height={this.props.height}
        style={this.props.style}>
        <g ref='graph' />
      </svg>
    );
    }
  }

  /** d3 functions to manipulate attributes **/
  var enterNode = (selection) => {
    selection.append('circle')
      .attr('r', 10)
      .style('fill', '#888888')
      .style('stroke', '#fff')
      .style('stroke-width', 1.5);

    selection.append("text")
      .attr("x", function(d){return 20}) //
      .attr("dy", ".35em") // vertically centre text regardless of font size
      .text(function(d) { return d.word });
   };

   var enterLink = (selection) => {
      selection.append('line')
        .attr("class", "link")
        .style('stroke', '#999999')
        .style('stroke-opacity', 0.6);
   };

   var updateNode = (selection) => {
       selection.attr("transform", (d) => "translate(" + d.x + "," + d.y + ")");
    };

    var updateLink = (selection) => {
      selection.attr("x1", (d) => d.source.x)
        .attr("y1", (d) => d.source.y)
        .attr("x2", (d) => d.target.x)
        .attr("y2", (d) => d.target.y);
    };

    var updateGraph = (selection) => {
       selection.selectAll('.node')
          .call(updateNode);
       selection.selectAll('.link')
          .call(updateLink);
    };

I've tried pushing new node into the node array at shouldComponentUpdate() function, instead of modifying the arrays in server. But the new node still appears on the left top corner with undefined position. So I am guessing my problem is at shouldComponentUpdate(). Any help is greatly appreciated!!

EDIT: found that Object.assign(...) does not return array. Changed it into array.slice() instead. Now all nodes are rendered with a position but not linked at all. Old nodes frayed from original positions as well.
Here is how it looks when new props go in and shouldComponentUpdate is triggered
I don't understand why the positions on the links don't correspond to the nodes.

A: the links in forceLink use by default object references to point to the source and target.
You don't show how you construct your links and nodes props, but you can get around it by calling id and setting an id accessor to point to your nodes logical id, so assuming your node have an id property this can be written like this:
.force("link", d3.forceLink(links).id(d => d.id).distance(50))

alternatively you could use the node's index as an accessor:
.force("link", d3.forceLink(links).id(d => d.index).distance(50))

or
.force("link", d3.forceLink(links).id((d, i) => i).distance(50))

-- Edit --
another measure that could help is to merge the properties of current nodes with the new nodes, this will let them retain position:
const updatePositions = (newNodes = [], currentNodes = []) => {
  const positionMap = currentNodes.reduce((result, node) => {
    result[node.id] = {
      x: node.x,
      y: node.y,
    };
    return result
  }, {});
  return newNodes.map(node => ({...node, ...positionMap[node.id]}))
}

then in your shouldComponentUpdate (note, this is not really where this code should live) you could call it like this:
var nodes = updatePositions(newProps.nodes, this.simulation.nodes())

and use nodes instead of newNodes.
Note that this code assumes nodes have a unique id property. Change this to fit your use case
You should also try adding a key function to your selections to identify your nodes and links, e.g.:
this.graph.selectAll('.node')
    .data(nextProps.nodes, d => d.id) // again assuming id property

A: I solved my problem which I found was a combination of bugs:

*

*Nodes had no links, or links don't correspond with nodes.

Firstly, my d3 graph and data had different ways to identify nodes - graph looking for index as links when my link data pointed at objects. I resolved this mismatch problem by changing both into id (i.e. looking for a string). This link suggested by @thedude pointed me to the right way. Resolving this problem led to the new nodes linked together correctly.

*The old nodes were still separated, bounced further away, and the old links stay where they were first rendered.

I suspect this is caused by getting graph data from d3, which defined x, y, vx, vy and index properties. So what I did was getting rid of them when I receive currentGraph in server before I update the data.
removeD3Extras: function(currentGraph) {
  currentGraph.nodes.forEach(function(d){
    delete d.index;
    delete d.x;
    delete d.y;
    delete d.vx;
    delete d.vy;
  });

  currentGraph.links.forEach(function(d){
    d.source = d.source.id;
    d.target = d.target.id;
    delete d.index;
  });

  return currentGraph;
}

That did the trick! Now it behaves how I intend to with no errors on console however I zoom, click and drag.
BUT there is room for improvement:

*

*the links are on top of nodes

*sometimes nodes are on top of each other during tick, thus requiring dragging and dropping.


In the Integrative Medicine Distinction Track (IMDT), University of Arizona College of Medicine students will receive an introduction to the vast set of integrative medicine modalities available for use with their patients, while operating within the conventional medical system.
The track consists of integrative approaches to various health conditions, participation in didactic special topic sessions, interactive online modules, the development of self-care plans, and participation in patient conferences to develop treatment plans. We partner with the College of Medicine's Integrative Medicine Club to meet student interests and provide a rich experience for all.
Applications are accepted on a rolling basis, and are reviewed monthly. It is best if interested students declare their intent to be in the Distinction Track before the end of their first year of medical school, to provide ample time to complete each requirement. Students who apply later, however, will still be considered.
For more information about our distinction track, including detailed explanations of the requirements, please download our new student handbook PDF.


text:
#pragma once

#include <chrono>
#include <memory>
#include <utility>

#include "envoy/api/api.h"
#include "envoy/event/dispatcher.h"
#include "envoy/event/timer.h"
#include "envoy/server/configuration.h"
#include "envoy/server/guarddog.h"

#include "common/common/thread.h"
#include "common/event/dispatcher_impl.h"

namespace Envoy {
namespace Event {

/**
 * Generic dispatched thread.
 *
 * This provides basic functionality for a thread which has the "Dispatched
 * Nature" (runs an event loop) but does not want to do listening and accept new
 * connections like regular Worker threads, or any of the other functionality
 * specific to "Worker" threads. This is particularly useful if you need a
 * special purpose thread that will issue or receive gRPC calls.
 *
 * These features are set up:
 *   1) Dispatcher support:
 *      open connections, open files, callback posting, timers, listen
 *   2) GuardDog deadlock monitoring
 *
 * These features are not:
 *   1) Thread local storage (we don't want runOnAllThreads callbacks to run on
 *      this thread).
 *   2) ConnectionHandler and listeners
 *
 * TODO(dnoe): Worker should probably be refactored to leverage this.
 */
class DispatchedThreadImpl : Logger::Loggable<Envoy::Logger::Id::main> {
public:
  DispatchedThreadImpl(Api::Api& api) : api_(api), dispatcher_(api_.allocateDispatcher()) {}

  /**
   * Start the thread.
   *
   * @param guard_dog GuardDog instance to register with.
   */
  void start(Envoy::Server::GuardDog& guard_dog);

  Dispatcher& dispatcher() { return *dispatcher_; }

  /**
   * Exit the dispatched thread. Will block until the thread joins.
   */
  void exit();

private:
  void threadRoutine(Envoy::Server::GuardDog& guard_dog);

  Api::Api& api_;
  DispatcherPtr dispatcher_;
  Thread::ThreadPtr thread_;
};

} // namespace Event
} // namespace Envoy

redpajama_set_name: RedPajamaGithub


text:
Q: formatting datetime objects as strings for SQL I am trying to unit test a new api endpoint I have built which queries a SQLite instance and returns the results.
I am seeding the SQLite instance from JSON, and this is the record I am trying to pick up:
{
    "model": "JobResponse",
    "data": {
        "id": 4,
        "JobId": "1",
        "createdAt": "2017-08-13 00:01"
    }
},

I usually use sequelize, and would use a momentjs object as a timeparam, but the query I need isn't possible in sequelize, so I am using a raw query. My js is generating the following query:
SELECT JobId, WHERE JobId = 2 AND createdAt > 2017-08-13 AND createdAt < 2017-08-14;

I am sure this is an issue with the formatting of the datetime element, but both the JSON seed and the SQL query have to be in string form, I have tried moment().format(), but then I get errors e.g:

SQLITE_ERROR: near "00"

which is presumably because the moment format has spaces in it.
How should I be formatting these datetime parameters as strings?
Update
As per the discussion in comments, I have now midified my query to contain inverted commas, e.g. SELECT JobId, FROM JobResponses WHERE createdAt > '2017-08-10 00:00:01' AND createdAt < '2017-08-10 23:59:00' GROUP BY JobId;
but I am still not getting any results returned


text:
April 7, 2021 December 21, 2021 dreddymd Diseases & Disorders, News & Reviews, vaccination
Vaccine expert calls on WHO to immediately halt all coronavirus mass vaccinations
A vaccine research expert has published an open letter calling on the World Health Organization (WHO) to immediately halt all coronavirus (COVID-19) mass vaccinations. According to Dr. Geert Vanden Bossche, mass vaccinations could lead to the emergence of more dangerous forms of the virus.
Vanden Bossche's concerns center around the notion that a combination of lockdowns and extreme selection pressure on the virus, induced by the intense global mass vaccination program, might diminish the number of cases, hospitalizations and deaths in the short-term, but will ultimately induce the emergence of more dangerous variants.
"I am not against vaccination. On the contrary, I can assure you that each of the current vaccines has been designed, developed and manufactured by brilliant and competent scientists," wrote Dr. Vanden Bossche, a seasoned vaccine developer who coordinated the Ebola vaccine program at the Global Alliance for Vaccines and Immunization (GAVI).
"However, this type of prophylactic vaccines is completely inappropriate, and even highly dangerous, when used in mass vaccination campaigns during a viral pandemic,"
A prophylactic or preventative vaccine involves introducing antigens into a person's body. The goal is that the individual's immune system will create antibodies for those antigens, and become immune to the associated illness.
Vaccination drives, government interventions make matters worse
Vanden Bossche believes that the ongoing mass vaccination drives are "likely to further enhance adaptive immune escape as none of the current vaccines will prevent replication or transmission of viral variants."
Immune escape is a term used to describe when the host, in this case humans, is no longer able to recognize and counter a pathogen such as a relevant variant or mutant of SARS-CoV-2, the virus which causes COVID-19.
"The more we use these vaccines for immunizing people in the midst of a pandemic, the more infectious the virus will become," Vanden Bossche wrote. "With increasing infectiousness comes an increased likelihood of viral resistance to the vaccines." (Related: Former Pfizer VP says experimental Covid-19 vaccines could be "used for massive-scale depopulation".)
Under this scenario, manufacturers will be forced to refine or improve the vaccines, which will then increase the selection pressure.
Selection pressure is a term used to describe the process that helps an organism or pathogen to evolve in ways that make it better adapted to its changing environment. An antibiotic resistance, which is caused by overuse of antibiotic drugs, is a good example of selection pressure.
The virus will effectively outsmart the highly specific antigen-based vaccines that are being used and tweaked.
Vanden Bossche said the multiple emerging, "much more infectious" viral variants are already examples of immune escape from our innate immunity, and most-likely created by the government interventions themselves – lockdowns and mask mandates.
Our innate immune system, which often called the first line of immune defense, protects us from a multitude of pathogens, thereby preventing these pathogens from causing disease.
As the innate immune system cannot remember the pathogens it encountered – innate immunity has no so-called "immunological memory" – we can only continue to rely on it provided we keep it "trained" well enough.
"By keeping the innate immune system trained, we can much more easily resist germs which have real pathogenic potential. It has, for example, been reported and scientifically proven that exposure to other, quite harmless coronaviruses causing a 'common cold' can provide protection, although short-lived, against Covid-19 and its loyal henchmen (i.e., the more infectious variants)," wrote Dr. Vanden Bossche.
Training is achieved by regular exposure to a myriad of environmental agents, including pathogens. Thus, lockdowns and mask mandates are possibly stunting the training of our innate immune system.
Vanden Bossche noted that suppression of innate immunity, especially in the younger age groups, can become very problematic. "There can be no doubt that lack of exposure due to stringent containment measures implemented as of the beginning of the pandemic has not been beneficial to keeping people's innate immune system well trained," he wrote.
McGill article discredits Dr. Vanden Bossche
An article published by the website McGill discredited the scientific evidence presented by Vanden Bossche in his open letter.
The article stated that in the letter, Dr. Vanden Bossche "makes a number of incorrect or exaggerated claims about the use of mass vaccination during a pandemic."
The writer of the article reached out to Dr. Paul Offit, a pediatrician who specialized in vaccines and immunology and the co-inventor of the rotavirus vaccine, to get his thoughts on whether antibiotic resistance and vaccine-associated immune escape are indeed comparable.
"In a sense it is, but he misses the main point," Dr. Offit said. "If you have a vaccine that results in high levels of neutralizing antibodies, that's not a way to create variants."
A vaccine shows your body an inert part of the virus so that it can make neutralizing antibodies against it. If the body ends up making low levels of these antibodies, this could allow the virus to stick around in your body and make copies of itself. Some of these copies may by chance have the right kinds of errors in their genetic code to become variants of concern, although the mutation rate of the coronavirus is quite low.
The article also asserted that data from the vaccine clinical trials and from countries that have vaccinated a large percentage of their population showed a significant reduction in cases and mortality.
"Another important counterpoint to Dr. Vanden Bossche's claim is that we can simply reformulate our vaccines to match new variants of concern," the article stated.
The article continued: "There is a reason why a new flu vaccine is made each year: The influenza virus drifts and shifts and the vaccine needs to be reformulated to be a better match for the specific viruses that are predicted to be common during the next flu season. Similarly, if a new SARS-CoV-2 variant emerges and is so different that our current vaccines don't match it, scientists can simply tweak their vaccines."
But Vanden Bossche has expected this kind of argument from non-experts and rebuffed them. "My statements are based on nothing else but science. They shall only be contradicted by science," he wrote in his open letter.
Follow Immunization.news for more news and information related to coronavirus vaccines.
Nolan Barton
Dryburgh.com
WakingTimes.com
McGill.ca
Eight European nations pause AstraZeneca coronavirus vaccinations after reports of "serious" blood clot
Researchers find connection between obesity and COVID deaths, want obese people to be classified as priority group for coronavirus vaccinations
In Israel, refusing coronavirus vaccination means your life is over
Hundreds of Florida residents report side effects following Wuhan coronavirus vaccination
Tagged Big Pharma, coronavirus, covid-19, covid-19 vaccines, Dr. Geert Vanden Bossche, geert vanden bossche covid, geert vanden bossche mass vaccination, innate immune system, Pandemic, prophylactic vaccine covid, prophylactic vaccines, prophylactic vaccines virus, selection pressure, vaccination drive, vaccine
Face masks are laced with cancer-causing toxic chemicals
Immunity to the coronavirus lasts at least 8 months after infection, study says


text:
Волењице могу бити:

 Волењице (Прибрам), насељено мјесто у округу Прибрам, Средњочешки крај, Чешка Република
 Волењице (Стракоњице), насељено мјесто у округу Стракоњице, Јужночешки крај, Чешка Република

redpajama_set_name: RedPajamaWikipedia


text:
New England's Bestseller
YOUNG MAY CHA
Sep 14, 2002 7 min
Two of his novels have been made into film and two others are in the process of development. "Past the Bleachers," (1992) the story of a couple who lose their eight-year-old son to leukemia was made into a Hallmark television movie in 1995 and "Midwives" (1997) was broadcast on Lifetime last year.
A former publisher for The Amherst Student, Bohjalian graduated the College in pursuit of a career in journalism. Instead, he began publishing short stories and became a full-time writer. "Buffalo Soldier," (2002) his most recent work, is, according to Bohjalian, "the story of a 10-year old African-American foster child in lily white Vermont whose foster parents' marriage is going to Hell in a handbasket."
Q: Within your eight books, do you see a running theme that unites them?
A: John Gardner contended that all fiction has to have conflict and human transformation. Conflict and human transformation are the two points on a compass that matter most in fiction, which is why I love writing about New England and why seven of my eight novels have been set in Vermont. Was I surprised when, in 2000, little Vermont was on the front page of every country newspaper because we were the first state to legitimize gay partnerships, a civil union that extends all the rights of heterosexual marriage to gay couples? In Vermont, I can find all those conflicts right here.
Q: With the amount of literature being published everyday, how do conceive an original story for your books?
A: Critics frown upon plagiarism and babbling. Generally there's a certain amount of muscle memory that comes into fiction. Before I start writing, however, I always have two things: a voice and a vague premise for a novel. "Midwives" is a good example. I grew interested in midwifery about six months after my daughter was born. We were at a dinner party and a woman sitting next to me, a midwife, started teasing me very good-naturedly about how my wife and I had driven 30 miles in the middle of the night to have my daughter delivered. "If you used me you could've had Grace in your bedroom and you could've caught her." And I never heard of the word "catch" used in a delivery. I spent six months doing nothing but immersing myself in [midwifery], in the literary and metaphoric place of birth. I had that first element, a subject, but I did not have a voice.
Q: How do you find the voice?
A: When my daughter was about six years old-it was one of those moments, you may have some point in your life when you've got 15 pounds in your arms that you love more madly than you ever thought you could love anything-I remembered this story that a friend of my wife's had told us about how her four-year-old goddaughter had recently come home from preschool, entranced by the word vulva. She knew it was a perfectly fine word but she knew that every time she said it, her mom and dad sweat bullets. "I used the word vulva as a child the way some kids say butt or penis or puke. It wasn't a curse necessarily but I knew it was a word that could stop adults dead in their track."
Then I called the daughter of a midwife I had interviewed. "I have no idea how to ask you this question so bear with me, but when you were a kid did you have a greater comfort level with the anatomy than your peers?" "Oh yeah I was always the most popular kid in her sandbox," [she said.] So I knew I had a voice and I knew it was the voice of the midwife's daughter, someone who could speak with detachment and objectivity.
"Trans-Sister Radio" began a similar way. I met a woman who had fallen in love with a man who loved her madly as well but was going to have a sex change.
Q: Could you say that there was an exact moment you decided to delve completely into writing?
A: There are all those moments in my life that change everything, that one scene that changes everything. It's March 8, 1986. My wife and I are 25 years old and we are living in Brooklyn Heights. At about 11 o'clock at night, we left a party at East 8th Street in the Village-the last thing a cabbie wants at 11 o'clock at night is a fare to Brooklyn because there's no return fare. So he's annoyed with us as soon as we get into the car. He was pulled over for speeding on the FDR drive, and you know you've got to be motoring to be pulled over. Then I proceeded to say the one sentence that changed my life, "Excuse me, sir, why don't you turn off your meter while you get your ticket?" And he was enraged, as I probably would've been if I was him.
The police officer drove away and [the cab driver] then proceeded to take us on a joyride through lower Manhattan. He ignored all the stoplights until he got us back on the FDR drive going north. I was suggesting to him that we were getting precariously close to abduction. Finally he exited Houston Street and, at the corner of Avenue A, B or C he came to a stop. My wife and I didn't look at why he came to a stop; we bolted out of the cab.
That's when we saw why he came to a stop. There were guys with Tower Record bags filled with guns. So she's lying facedown on Houston Street-this police officer told us to get down-and she whispers to me, "If you want to be a writer, why are we living here?" So the following morning we started making plans to move to northern New England � that's why I took the plunge. In all fairness, I've been writing fiction in the evening for three years now. I had a manuscript for a novel, I sold a few short stories, so it wasn't an absolutely certifiable [decision].
Has fiction writing always been a passion of yours?
I've always been interested in stories and I've always been interested in storytelling. When I was at Amherst, I presumed I was going to be a journalist. It was only after-and that's one of my greatest regrets-that, as much as I enjoyed journalism and still do a fair amount of magazine writing,, it was only after Amherst that I decided to take the plunge to explore writing fiction seriously.
Q: Was there something about Amherst that led you to later pursue writing as a serious career?
A: I find this an incredible irony. When I was at Amherst, I never knew David Foster Wallace '85, Susanna Grant '84, Harlan Coben '84. I knew Rand Cooper '80 a bit through the newspaper. But, the reality is, that I was never spending time with them. My life at Amherst was decidedly antisocial, at least in terms of playtime and frat parties. The reality of my time there revolved entirely around my classes, The Student and the woman I am married to now. Two nights a week I was up all night at The Student. Two nights a week I was up all night at the public switchboard at Converse. And one night I was actually up all night to work at the Smith College newspaper to help make money so we wouldn't have to depend on the student allocations committee.
Certainly the regular faculty were wonderful, are wonderful. I always come back when no one is there. Every year, I go on one of those 20-or 24-city book tours that publishers design to try to break a novelist's spirit and one of the places I always go is the Odyssey Book Shop in South Hadley. So every year I always drive around the Amherst campus, find a place to park and spend an hour wandering aimlessly. You have may have [seen me], looking dewy-eyed at James and Stearns or studying the brand new Fayerweather or the math and science center.
What were your first career choices after graduation?
I presumed I was going to go into journalism when I left Amherst. Instead, I was offered a job as a running slime dog of capitalism as an account executive in an ad agency. I didn't [enjoy it]. Fortunately, I figured out by the time I was 25 that this wasn't what I wanted to do with my life. Since I wasn't a journalist, I was indulging myself with writing fiction before work and in the evenings. And I sold a couple short stories in my early 20s, in some cases to small literary magazines and, in some cases, to larger magazines like Cosmopolitan. So [my wife and I] decided that I wanted to be a novelist, which I did, and she wanted to be a photographer, which she did. We needed to get off that 1980s escalator before we were completely sucked into that 1980s Manhattan lifestyle. So we moved into a northern village in Vermont, which I hope I won't leave until I'm carried out horizontally.
Q: How do you imagine your life to be different had you become a journalist?
A: It is very possible that if I had gotten a job as a 22-year-old reporter I might not have become a novelist. I think, in some ways, it's perhaps very fortunate that I didn't get a job as a reporter because I absolutely love what I do and I'm getting better as it as I get older. You do something long enough; you work out the bugs eventually. At some point in the next five or six months I will finish my ninth novel, so persistence alone should suggest that I've gotten better.
Q: As a writer, how do you respond to the popularity of your novels?
A: I love it when people read my books and, make no mistake, most contemporary novelists want to be read. Anything that encourages people to read my books makes me happy. When "Midwives" became a part of Oprah's Book Club, I was happy because it meant more people were going to read my work. I want people to read my work because, first of all, it's a validation of what I do and, secondly, because of the enormous pleasure that I derive from other people's fiction. When I finish a novel such as Ann Packer's "The Dive from Clausen's Pier," I'm not simply impressed by the prose or the structure of the book, I'm grateful for the evenings of pleasure that this writer has given me.


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Every company must have strong foundations, or else the entire structure will crumble. Greater success only means stronger foundations than before. The foundations your company are made up of include your employees, your data systems, and, of course, your ability to successfully outsource so that you maintain healthy ROIs and benefit from maximum output.
If you want to improve youremployees' productivity, the first place you need to look at is their environment. At the end of the day their environment and their health will play a big role in how effective they are at their jobs. So keep it clean, make it beautiful, and try to make it a bright, clean, and healthy place to be.
Just as the environment plays a big role, so too does the culture. You improve the culture by making it a positive place to be. This means offering benefits that help them balance their life. It means offering clear career progression. It means improving their teamwork. Have a break room, hold events outside the office where you are not allowed to talk shop, for instance.
Sponsor their education in anyway you can. A great way to start is to simply subscribe to an academic journal that is directly related to your industry. Make note of the key articles and send them to your employees to read up on.
A key change you need to make isto know when it is best to outsource. Having your employees work on a task they aren't familiar with is not going to get you the results you are looking for.
A great way to outsource and have a legal team on your side is with a subscription service from HJ Solicitors. With their Enterprise package you can gain an hour of legal expertise every month (with this accruing if you don't use it), so you can manage your overhead costs better and benefit from legal talent all at once.
Keep all your data expertly organised in a system that can work together. You want all of your data in oneplace to improve automated reporting and automated tasks. Follow up on this by improving the meta data you use to sort this information.
If you are ever at a loss of what you need to improve or how to improve it, often one of the best places to go is to your employees. They are the ones who are at the front lines of your operations, and their insight can be invaluable. The advice of a legal team can also be hugely beneficial in keeping within the law and making it work for you in all regards.
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'Let's celebrate the next generation of Irish people who can marry whomever they love'
by Donnachadh McCarthy
Writing through tears of joy and pain, Donnachadh McCarthy, who came out in his late teens in 1979, is still relishing the result of last week's marriage equality referendum
I cried lots of tears every time I watched the coverage of the positive marriage equality referendum. When I came out in Cork, in my late teens in 1979, the punishment by law for sleeping with your partner was life imprisonment with hard labour.
I had two gay friends brutally murdered in homophobic attacks — one was left in a pool of blood at the bottom of the stairs with 27 knife wounds and the other left tied up with a knife through his heart.
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Those who murdered gay people in Ireland in those days were regularly not imprisoned — they claimed as their defence that the gay man had made a pass at them. A dog genuinely had more rights than we did in Catholic Ireland.
I often met damaged gay people whose family or they themselves had subjected them to aversion therapy — electrocution or vomit-inducing pills if a sensual picture of a beautiful man turned them on.
I had been sexually abused by a repressed elderly Irish Catholic priest while an altar boy.
In 1978, I was elected to be the first chair of University College Cork's gay society, which promptly became the first student body in the 150-year history of the university to be banned. We turned this into a positive, as we asked all the other student groups to host events for us instead and gay rights became instantly the most active, positive cause on campus. Even the Catholic student group hosted an event for us.
I was one of the first out gay people to be photographed in a national newspaper.
Facing my poor mother after this was one of the ugliest scenes I have ever had to peacefully endure.
But bless her, she/we worked through it and seven years later, she bought a house-warming present for me and my then partner.
Another family member kept asking me to see a priest who was also a psychiatrist — I refused and said if they did not stop I would stop seeing them, as I was not mentally ill. They kindly stopped.
Some of the clients in pub that I worked near UCC demanded that I be fired. My boss did not tell me this until six months later — as he said if too many of his regulars did so, he would have had to let me go.
I went on the first gay pride march in Dublin — 40 of us straggling down Grafton St. I founded and chaired the first Homophobic Violence and Abuse Forum in Southwark, London, to where I had emigrated, which successfully helped change the local policing from one of persecution to one of protection.
And here we are just 36 years later and the Irish people with a large majority endorse marriage equality for all its citizens.
They ignored, in their hundreds of thousands, the homophobic patriarchal calls of many Christian, Evangelical, and Muslim male religious "leaders".
So big thanks to all those groups of Irish atheists, Muslims, Catholics, Jews, Christians, straight, LGBT, and immigrants who made world history.
How truly, truly amazing for so-called Catholic Ireland to become the first country in the world to vote in a referendum for marriage equality. As the amazingly brave senator David Norris (he was a speaker at a packed university debate at which I publicly and emotionally outed myself in front of my friends all those years ago) has said, us older Irish gays will always carry the scars from those days of brutal inequality — having to always be afraid of being murdered if you were seen holding hands with your lover in public — and it has taken its toll on all of us.
So let's take a moment to remember with love the gay people murdered in Ireland over the centuries, and those who took their own lives because they could not take the mental pain any more.
Then let's also truly celebrate that the new generation of young people — gay, straight, bi — who can grow up to love and marry if they wish, whoever their heart leads them to do so.
I am so proud of Ireland and am still crying bitter tears of joy and pain as I write this.
Colourful celebrations in Taipei as Taiwan legalises same-sex marriage
Netflix documentary shows Ireland's fight for marriage equality
Justin McAleese: Faith-based objections have no place in secular marriage
Bermuda becomes first country to repeal law allowing same-sex marraige
Marriage Equality ReferendumTOPIC: Marriage equality referendum


Most alkaline rocks contain variable amounts of feldspathoid minerals, feldspars and ferromagnesian silicates. The volumetric proportions of alkali feldspars (A: sanidine, orthoclase, microcline and low-Ca albite), plagioclase (P) and feldspathoids (F) serve as the basis for this classification scheme endorsed by the International Union of Geological Sciences. On this diagram, plutonic rock names are given in plain font, and volcanic ones in italics. For example, if the rock in question is intrusive and contains 25% nepheline, 30% microcline and 5% pure albite, it will plot in the foid syenite field along the A-F side of the triangle. Given that nepheline is the only foid mineral in this rock, the more appropriate petrographic term for it would be nepheline syenite. This root name can be further refined through the adition of modifiers, i.e. adjectives and nouns that reflect some specific textural and mineralogical characteristics of the rock. For instance, the nepheline syenite shown at right shows a trachytoidal texture and, in addition to nepheline and feldspar crystals (colorless), contains about an equal proportion of ferromagnesian silicates left out of the APF diagram. In our example, these minerals are represented by aegirine (bright green) and amphibole (bluish green to brown). Our rock can now be rebaptized into mesocratic trachytoidal aegirine-amphibole nepheline syenite. Some of these awkwardly long names can be replaced with an old (traditional) name, which would typically allude to the geographic locality where the rock has been initially described from. For instance, our mesocratic blah-blah-blah syenite may be alternatively called lujavrite, for the Lujavr plateau (Lovozero Mts) in the Kola Peninsula. The downside of using such locality names is that you have to know a priori what they all mean.


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Q: Problem with convex differentiable function Let $f:\mathbb{R}\to \mathbb{R}$ be convex and differentiable function. Prove that
$$(\forall x \in(a,b))  f(x)=\max_{t\in (a,b)}(f(t)+f'(t)(x-t))$$
Hint is to apply Lagrange theorem and fact that first derivative of convex function increases, but I don't know how to use that.

A: For $x, y \in (a, b)$, convex, differentiable functions always fulfil:
$$
f(x)\geq f(y)+f'(y)(x-y)
$$
So $\displaystyle \max_{t \in (a, b)} f(t)+f'(t)(x-t) \leq \max_{t \in (a, b)} f(x) = f(x)$
Also, trivially
$$
\max_{t \in (a, b)} f(t)+f'(t)(x-t) \geq f(x)+f'(x)(x-x) = f(x).
$$

So how is the very first inequality proved? Let $f$ be convex differentiable. By definition, it fulfils for all $\lambda \in (0, 1)$:
$$
f(\lambda x+(1-\lambda)y) \leq \lambda f(x) + (1-\lambda)f(y) \iff \frac{f(y+\lambda(x-y))-f(y)}{\lambda} \leq f(x)-f(y).
$$
As $\lambda \downarrow 0$, the L.H.S. does the following: (we use Taylor in $\lambda = 0$)
$$
\lim_{\lambda\downarrow 0} \frac{f(y+\lambda(x-y))-f(y)}{\lambda} = \lim_{\lambda\downarrow 0} \frac{\lambda f'(y)(x-y) + o(\lambda)}{\lambda} = f'(y)(y-x)
$$
So as $\lambda \downarrow 0$:
$$
f'(y)(y-x)\leq f(x) - f(y)
$$


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Parent Help Reply Budget
Monday, 30 May 2016, 1:51 pm
Press Release: Parent Help
In today's Budget a total of $642 million, to be spent over four years, has been allocated to a range of initiatives within the social investment package. One such initiative includes ongoing investment in New Zealand children and their families.
Parent Help acknowledges the Government's commitment to ensuring wrap-around services for vulnerable children and in placing the needs of children at the centre of policy decision-making, in particular those children and their families most at risk.
While our vulnerable children must always be the priority, at Parent Help we hope that during the Budget's four year funding period more resources can be directed to programmes which focus on both prevention and early intervention. Research has shown that the outcomes for children are greatly improved when effective early intervention takes place. This applies to both vulnerable families and those who do not yet meet this threshold, particularly in families where there may be incipient family violence or parents are in need of support in their parenting role.
At Parent Help our family therapy service places high importance on working holistically with the whole family to not only improve parenting skills but, most importantly, to strengthen relationships within the family to provide a continuing safe and nurturing environment for children as they develop and grow into adulthood. We provide timely intervention aimed at supporting parents with information and strategies, maintaining family relationships and working towards a better long-term outcome for all.
The national parenting and child abuse prevention Helpline which Parent Help has provided for many years is also considered to be a valuable prevention and early intervention service for parents and family/whanau needing crisis or other support. The Helpline is available between 9 am and 11 pm, seven days a week. Where risk is identified callers to the Helpline will be referred direct to Child, Youth and Family, to the Children's Action Plan triage centre The Hub or to appropriate services in their area.
Parent Help is a community agency that has been offering services to families since 1989. Our vision is to support parents to ensure children and young people live in families/whanau free from the impact of family violence abuse and neglect. We provide help with all parenting issues from the smallest to the most serious issue of child abuse. Parents can call the telephone helpline on 0800 568 856, or access our Wellington-based family therapy, counselling, mediation and parent education services.
Find more from Parent Help on InfoPages.