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WALTER BIO
INES BIO
Walter Angelini lives and works in America. He studied at Accademia Del Teatro Alla Scala Di Milano where he also gaining performing experience with the ballet company of the same name and he was awarded a full scholarship for the JKO at American Ballet Theatre of NYC where he graduated in 2010. He has performed, as soloist and principal dancer, all around the world. In 2017 Walter Angelini & Ines Albertini join US International Ballet as Principal Dancers and Ballet Masters. Later that year, in addition to their roles they were named US International Ballet Artistic Directors. They brought to this position a gift for choreographing and for teaching, a dynamic vision, and the pursuit of excellence. Under their guidance, US International Ballet is achieving recognition as one of the new finest ballet companies in America.
Walter Angelini is born in a small village in the heart of the Brianza region of northern Italy on 1st July 1991. He has a happy childhood surrounded by friends and family, and spends much of his time trekking, playing tennis, swimming and attending the local football school.
At just six years old, he expresses the wish to attend a dance school. And so his artistic journey starts in a small school, where he first takes up modern dance but, given his inclination and physical attributes, his teacher points him towards ballet.
In 2001, at 11 years old, he passes the selection process for the Accademia Del Teatro Alla Scala Di Milano with flying colors. He starts the first year of the eight-year course, embarking on a life full of new experiences, but also involving big and continuous sacrifices in order to respect the double commitment of dance and school. He works with the best teachers, including Loretta Alexandrescu, Leonid Nikonov, Tatiana Nikonova, Vera Karpenko, Paolo Podini, Emanuela Tagliavia; under the direction of Anna Maria Prina until 2006, and then Frédéric Olivieri. He takes part in all the school's annual shows, including Coppelia, Paquita, Class Ballet staged by Asaf Messerer, Serenade staged by Patricia Neary and Raymonda, Symphony in D staged by Arlette Van Boven. He also takes part in various productions at Teatro Alla Scala including, Nutcraker, Gala Nureyef, International Gala, Pipistrello, Don Quixote and Vedova Allegra. Furthermore, in the summers he attends various summer intensives, including the Royal Ballet of London, Rosella Hightower's school in Cannes and the Alicia Alonso course in Madrid.
At 17 years of age, after attending the American Ballet Theatre Summer Intensive, he wins a scholarship for the Jacqueline Kennedy Onassis School at American Ballet Theatre; and so he moves to New York, where he attends the last academic year, under the direction of Franco de Vita and he graduates in May 2010. He has the pleasure of studying with Kevin McKenzie, Harriet Clark, Olga Dvorovenko, Martine van Hamel, Susan Jaffe, Jessica Lang, Kate Lydon, Raymond Lukens, Clarice Marshall and Lupe Serrano. He performs in the show Napoli, in a soloist role; and in Oblivion, choreograph hed by Jessica Lang. He signs a contract for the 2010-2011 season with Boston Ballet, before even graduating, but due to the lengthy visa application process he is not able to honour it.
During this season Walter doesn't lose heart and is noted by Maestro Michele Villanova during one of his workshops and later dances his choreographies at the Teatro Municipale Di Piacenza, Italy. He collaborates with numerous Italian academies including Arte e Spettacolo in Lesmo, Spazio Novecento in Gallarate, and in Milan he has the opportunity of meeting Maestro Walter Venditti at the company Complesso Ambrosiano.
For the 2011-2012 season various companies in various countries including London, South Carolina, New Jersey and New York, are interested in him. He signs a contract with "Atlantic City Ballet" under the direction of Phyllis Papa ballerina from American Ballet Theatre. The season leads him to perform a large part of the classical repertoire including "Dracula", "The Nutcracker", "The Sorcerer's Apprentice" and the contemporary choreography of the director Phyllis Papa "Eclipse" and "Drums".
In November 2011 he gives a Thanksgiving Day performance (live on ABC channel 6) together with his partner Ines Albertini at the prestigious Philadelphia Art Museum, with a pas de deux choreographed by Phyllis Papa, with the tenor Nathan Pacheco.
In December 2011 he dances a tango and a piece choreographed by Michele Villanova with his partner, Ines Albertini in the charity show "Accendi una stella per il tuo natale 2011" at "Teatro Municipale di Piacenza – Italy". Various leading figures are invited, including the theatre actors Mino Manni and Silvia Siravo and the Italian singer Povia.
On 19 August 2012 Walter Angelini and his partner are invited by the lyrical singer Andrea Bocelli to dance during the "Vivere AmanDo" event organized by him in favour of the ARPA e M.E.V.V (volunteer doctors of medici volontari Versilia) association. They exhibit a Tango by Astor Piazzolla and a special remake of Romeo and Juliet to music by Nino Rota from Franco Zeffirelli's film all played live by Bocelli's pianist Giuseppe Santucci. Pianists Giuseppe Santucci, Amos e Matteo Bocelli, soprano Paola Sanguinetti, trombonist Andrea Toffanelli accompagnied by the pianist Riccardo Arrighini, bow stringed instruments of the Puccini festival foundation and presenter laria Della Bidia participate in the event. Numerous international political figures and celebrities from the show world are present, among which the Italian actor Giorgio Panariello and the singer Renato Zero.
For the 2012-2013 season he is chosen by the Russian Pasha Kambalov, who trained and worked at the Mariinsky theatre, Saint Petersburg, to join the company of the "First State Ballet Theatre" of Wilmington, Delaware. The season calls him to interpret classical repertoire ballets Walpurgis Night, Sleeping Beauty, Nutckraker and three different galas in which Walter performed in Don Quixote Pas, in Paquita variation and Flames of Paris (with Ines Albertini), he also dances the contemporary choreography of "Muckin' About" and "Nonsense in the Sense of Innocence" (choreographed by Viktor Plotnikov), "Irene" and "Midsummer Night's Dream".
For the 2013-2014 season he join the Dance Theatre of Tennessee, Nashville. The season calls him to interpret main roles in ballets Giselle, Nutcracker and Hansel and Gretel and numerous contemporary pieces of local and international choreographies.
In 2014 he join the Dance Alive National Ballet as a Principal Dancer. Walter performed a large repertoire including Scheherazade, Vampyra, Nutcracker, Cinderella, Midsummer Night's Dream, Swan Lake, Lady Bug and Allegro Brillante by Balanchine.
In 2017 Walter Angelini & Ines Albertini join US International Ballet as Principal Dancers and Ballet Masters. Later that year, in addition to their roles they were named US International Ballet Artistic Directors. They brought to this position a gift for choreographing and for teaching, a dynamic vision, and the pursuit of excellence. Under their guidance, US International Ballet is achieving recognition as one of the new finest ballet companies in America.
Walter is an ABT® Certified Teacher, who has successfully completed the ABT® Teacher Training Intensive in Pre-Primary through Level 5.

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Hyperlink inside iframe is not working when I click on the parent page I have a hyperlink in iframe, when I click this on the parent page, is not working.
Here is an example set up:
iframe.html

I'm inner page!

go another page

parent.html

I'm INDEX

please help me T__T

A: just remove target attribute

I'm inner page!

go another page

see https://www.w3schools.com/tags/att_a_target.asp

redpajama_set_name: RedPajamaStackExchange


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Heavy rain, strong winds wreak havoc on most parts of Kansas City metro
Posted 6:53 pm, June 21, 2019, by Shannon O'Brien
GLADSTONE, Mo -- Friday morning's storm was not isolated. People in all corners of the metro felt the effects of the powerful storm.
It was an impressive storm, thunder and lightning plus rains that flooded several areas and winds ripping down trees and power lines, leaving some people stranded and others in the dark.
"We do enjoy the storms though it is kind of nostalgic," Marissa Alexander said. "When I was a kid, we would all get huddled up and watch the storms."
Alexander and her family did more than just watch the show in Gladstone. They became part of it.
Friday morning Alexander was making breakfast for her son and nephew on what she described as a calm, rainy day when everything quickly changed.
"The sound of the wind was so loud I thought a tornado was blowing through because things started knocking over, noises of things collapsing," Alexander said. "The back door flew open, and their grandmother was trying to hold the door closed and she was scared. She was telling us to run downstairs because she didn't know what it was."
The winds ripping a tree down in Alexander's backyard, blocking the way out, as well as parts of other huge branches ripped from their trunks. Piles and piles of debris, again.
"You should have seen the last storm. We were cutting down branches forever," Alexander said.
In other parts of the metro, the issue was flooding.
"It got up to about the third step here, and yeah, we just kind of had our own little sea front property you know," said A.J. Gaither who owns a shop at 28th and Terrace in Kansas City. "I was amazed at how fast it came up you know."
After a late night at work, Gaither decided to crash at his shop, and when he woke up Friday morning, all he could see was water.
"I come outside to see how bad it was raining and there was already water up to my running boards and I went back in to think for a second," Gaither said. "I was like, 'Man, I should probably get out of here and get my stuff together.' And by the time I looked out again it was to the top of my fenders and you can't see the road out here."
Stranded with no way out, Gaither did what else? Took to Facebook live, documenting his predicament.
Parisi Artisan Coffee
Kansas City Specialty Coffees
Barry moves deeper into Louisiana with more rain on the way
Barry strengthens into Category 1 hurricane as it nears landfall in Louisiana
Weather Weather Blog
Joe's Weather World: VERY rare May storm to slam the Plains (5/19)
Barry is a triple threat of storm surge, high rivers and flooding as it gets closer to the Louisiana coast
Joe's Weather World: Watching the threat of severe weather but… (TUE-4/30)
2 million people are at 'high' risk for catastrophic tornadoes in parts of Oklahoma and Texas
Number dead in Oklahoma storms rises to six with nearly 100 other injuries
Joe's Weather World: Another day of severe weather in region (WED-5/22)
Roof collapses at Liberty daycare during severe storms, forcing it to close
Tornado kills 2 people, injures 29 others in El Reno, Oklahoma
'Gustnado': What was that crazy little tornado-like cloud Friday morning?
Joe's Weather World: Rare HIGH risk severe weather day in OK/TX…more rain for KC (MON-5/20)
Woman captures video of 'gustnado' in Belton during early morning thunderstorms


In this page we share products that we have either developed or tested from other brands. We only share and promote products that we trust and believe in 100%. We prime for working with local, natural and eco-friendly organisations. If you want to display and submit a product for review, please send us a message here.
Inspired on Mother Earth, these earrings work as essential oil diffusers. Put one drop of your favourite plant essence on them and carry nature with you all day. 100% handmade and hand painted. To purchase, please get in touch here.
Ideal for a smoother and detoxified skin. This Lemon & Tea Tree essential oil scrub is a 100% natural and vegan-friendly product that will do wonders for your skin since the first application. It exfoliates dead cells, prevents acne and boosts immunity. To purchase, please get in touch here.
Based on the river banks of the Danube in the South East of Romania, Yandra values and respects nature while also crafting luxurious products in their farm. Besides offering high quality teas, Yandra has also introduced a new Rose Syrup in the market which is 100% natural and vegan friendly. See our full review here. To buy this product, please click here.


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Washing Dishes During a Thunderstorm Could Kill You
By Sarah Carri
Published July 23, 2018 at 3:13pm
When most people think of summer, they might picture cloudless days and trips to the lake or the beach.
But summer isn't all iced drinks and sunny skies. Many areas experience monsoons come July. Though rain means cooler weather, it also means danger for those who aren't careful.
Flash flood and thunderstorm warnings are inevitable during this season. That's why it's important to know what to do and what not to do in the case of a thunderstorm.
(Boris Jordan Photography/Getty Images)
The Centers for Disease Control and Prevention offers a plethora of helpful information regarding how to keep safe when lightning strikes.
Everyone probably knows to stay away from metal. And you're never supposed to take refuge beneath a tree, right?
Some might assume you're safe as long as you're inside. If you're within an enclosed vehicle, that's probably true, according to the CDC.
But what if you're inside your home or office? There's no way you could be harmed by lightning within the shelter of your own home, right?
Well, according to the CDC and AccuWeather, there's plenty you could do wrong while behind closed doors.
You should obviously stay away from anything that conducts electricity, and yes, this means a wall charging cell phone as well.
(Jamie Grill/Getty Images)
Windows and doors are off limits too, and you should avoid taking a shower during a storm since water also conducts electricity.
"We see that on the outside where lightning strikes something and if there are puddles around, it can easily electrocute somebody nearby the puddle," National Weather Service lightning safety specialist John Jensenius said.
If water can conduct electricity outside, it can do so inside as well. Which is why you'd better put off those dirty dishes until after the skies clear.
RELATED: Trump Makes Inroads with Black Voters Through Church Outreach
(Adam Angelides/Getty Images)
According to Dan Kottlowski, a Senior Meteorologist for AccuWeather, thunderstorm safety while inside the home has a lot to do with construction.
"When a house is built, it should be built so that when your electricity comes in, it's grounded to your house," Kottlowski explained. "If your house is grounded to separate rods that are basically stuck down into the ground, then that's a bit safer because nothing is attached to the plumbing."
I have no clue how my house was built. But I do know I'm steering clear of wires and water next time I'm stuck inside during a storm.
Submit your story here, and subscribe to our best uplifting stories here.
Sarah Carri
Contributor, Lifestyle
Sarah Carri is an avid reader and social media guru with a passion for truth and life. Her writing has previously been published in print and online by Focus on the Family and other well known media outlets. Her experience in ministry and Disney entertainment gives her a unique perspective on such topics.
Sarah's experience as a successful working stay-at-home mom and business owner has given her the chance to write and research often. She stays up to date on the latest in entertainment and offers her views on celebrity stories based on her wide knowledge of the industry. Her success as a former preschool teacher and licensed daycare provider lend to her know-how on topics relating to parenting and childhood education.
Her thoughts on faith and family issues stem from home life and ministry work. Sarah takes time to attend workshops and classes annually that help her to improve and hone her writing craft. She is a graduate of the Institute of Children's Literature program and her writing has been acclaimed by ACFW and ECPA.
Institute of Children's Literature, Art Institute of Phoenix (Advertising), University of California Irvine (Theater), Snow College (Early Childhood Education)
Entertainment, Faith
Uber Driver Makes 400-Mile Round Trip To Take Pair of Stranded Sisters To See 100-Year-Old Aunt
Voice of 'Minnie Mouse,' Russi Taylor, Dead at Age 75
Man Credits His Shih Tzu for Lottery Win: 'He's My Million Dollar Dog'
Cops Rescued Unwanted Pit Bulls and Turned Them into K-9 Officers
Dog Severely Burned in Fire Makes Remarkable Recovery, In Training To Comfort Other Burn Victims
Tags: family, safety
Via: WESH
Sources: Country Living, Accuweather, and CDC


There has been a lot of negative backlash aimed at the recent Noah movie, with many Christian leaders calling for boycotts. I went and saw the movie last night and after having a chance to process both the movie and the reactions decided to offer my thoughts for whatever they're worth.
1) Yes, the movie does not strictly follow the Biblical account. However, the movie poignantly portrays many key Biblical themes like: the depravity of humans, image of God, and the inherent goodness of creation. Yes there are weird rock monsters that are fallen angels and some humans have unexplainable magic powers, but if we simply focus on this we truly do miss the beauty and tragedy displayed on screen.
2) In Genesis 6, scripture states that the world was filled with violence. If I am to imagine a world filled with violence, I need look no further then my own backyard, I live in Houston after all. But Noah vividly shines a light on humans propensity for violence and wickedness. In one of Noah's visions he is confronted with the fact that the violence he sees in the people around him is reflected in his own soul. The movie does not break down into an us versus them mentality. Noah has been given the gift/burden of knowledge, and it tears him to shreds. This is reason enough to go and see the movie. It is not often that we are given a blockbuster movie that denies us the myth of human progress.
3) A theme that is weaved throughout the movie is the idea that man is made in God's image, with the underlying question: what does it means to be a man? This movie serves as a very good critique of the idea that to be made in God's image means we get to dominate creation. It is here that Noah gets it very right. Humanity has been charged to be a caretaker, not a slave master. Yes, the details are grossly inaccurate, but it has hit the themes head on! It is through Noah's torment and obedience that we start to see what it means to be human.
We are all sons of Adam. This movie serves as an excellent reminder of that fact, and it is precisely during the season of lent that we need this kind of reminder. In this season we are haunted by the violence within our own hearts, we remember that we are dust, and we wait patiently for a work of new creation.
Noah is such a flat character (he doesn't say or do a whole lot!) in the Genesis account I had never really considered what it might have been like for a man in that position. The best part, I think, was Noah's retelling of the creation story and the fall. Really beautifully done. I also thought the ending was rather good… insightful as far as the whole narrative of the film goes. Also, the emphasis on our sacred responsibility as image bearers to care for the created world was well done I think.
I completely agree! I loved the telling of creation and we're even given some redemption at the end. In the Huffington Post interview, they called their movie a Midrash on Noah and I think they have done a fantastic job. As a Christian, I want to skip over that story or just stare at it confused. This movie has helped me start to dialogue with the text again.
Great post! Hoping to see the movie soon.
Excellent review. Thank you for your insightful comments!


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Inspiring Awe in Teens
Andy Pool / Character Strengths
Throughout history, awe was a feeling often associated with religious or spiritual experiences, and it still can be. But it also can be felt through breathtaking sensations that happen during certain experiences — like walking in a Redwood Forest or exploring a glacier. Or by small miracles that happen everyday — like the leaves changing colors with the seasons or a caterpillar becoming a butterfly. Awe can also be inspired by witnessing and elevating the acts of loving-kindness from others around us. For teens, these experiences can help them think about who they are and who they want to be as they explore an immense world.
According to leading thinkers Dr. Dacher Keltner and Dr. Jonathan Haidt, awe is an emotion that reminds us we are part of something greater. It helps shift attention outward in healing and inspiring ways. Awe typically involves an experience of "perceived vastness," according to Dr. Keltner. Greater Good Science Center describes awe as "the feeling we get in the presence of something vast that challenges our understanding of the world, like looking up at millions of stars in the night sky or marveling at the birth of a child. When people feel awe, they may use other words to describe the experience, such as wonder, amazement, surprise, or transcendence."
The Benefits of Experiencing Awe
By forcing us to reimagine our role in the universe, awe helps us gain perspective. It adds to our sense of wonder and desire to seek beauty in the world. It encourages us to take part in shared experiences. Notably, awe has been shown to increase generosity. That may be because the experience of awe makes people see themselves as part of something bigger which allows them to connect more deeply with others. These stronger and deeper connections between ourselves, our families, and our communities lead to even more benefits for our health and well-being.
There are many benefits related to experiencing awe, including better physical and emotional health and increased happiness. Awe sparks curiosity, creativity, and critical thinking. It is also a good coping skill as it allows us to take a break from our worries — an "instant vacation."
When people feel awe, they may use other words to describe the experience, such as wonder, amazement, surprise, or transcendence.
Awe in Children
Children have a natural capacity for awe. Spend time with a young child, and you'll be sure to get back in touch with your ability to experience wonder. Try to see the world through their eyes. Appreciate their developing curiosity. Teens are pretty awe-inspiring as well. Their newfound capacity to seek a deeper understanding of the universe is astounding. Their ability to care about others and remain idealistic is inspirational.
6 Easy Ways to Promote Awe in Teens
Talk about the kind of people and actions that inspire them. Read a biography or watch a documentary about someone they find inspirational.
Search online for awe-inspiring places, events, and people, like the Grand Canyon, the Northern Lights, Martin Luther King Jr., or Jane Goodall.
Volunteer or engage in acts of kindness. Selfless or generous acts broaden your capacity to care for others.
Attend a religious or spiritual service and discuss the values taught that day.
Explore nature's wonders. Whether you travel in person or view on-screen, marvel at the planet's existing beauty. Walk, hike, or bike ride and take in the amazing diversity of life on earth.
Browse museums for history, art, or science that will leave you speechless.
Even though awe may feel like a temporary sensation, it can have lifelong benefits for families. It can bring you closer together as you reminisce about your awesome experiences and strengthen the connections we have with one another.
This article was adapted from works written by Dr. Ken Ginsburg.
Character Strengths / Aug 25, 2021
Five Ways to Fuel Teen Curiosity
Role Modeling / Aug 25, 2021
Key Strategies to Raising Teens with Character
Q&A Series / Aug 25, 2021
Unlocking Teen Character and Emotions
About Andy Pool
Andrew Pool, Ph.D., M.Sc. is a Research Scientist at CPTC. He has a doctorate in Public Health with a concentration in Social and Behavioral Sciences from Temple University.


During the 1970s Hopkins also inspired the community video movement in the UK. I got to know him in 1976 in the Fantasy Factory in London where he and Sue Hall were running a video resource and information center for video activists and nosey anthropologists like myself. Hoppy and Sue introduced me to the community video scene in London. That's how my research on community media (pdf) in the UK began.
In 2013 I met Hoppy again for one of his last interviews. He was already marked by his illness. Reminiscing about his early community video experiments, he talked about video work with old pensioners in a working class neighborhood in North London.
P.S. Another fond memory of Hoppy: I met him in his small house that had an electric piano in the kitchen. On the music stand: Strawberry Fields Forever from the Beatles. Hoppy: 'I practice every day. That keeps me fit'. Hoppy suffered from Parkinson's disease. Over the piano there was a small painting with children dancing, somewhere in South America.
In the 1970s and 1980s, young activists discovered video as a new medium and used moving images in their struggle for access to cultural expression for the many, not the few. They were researching and developing new forms of independent and participatory media work. This was an important step towards realizing the utopian promises of the digital age.


The Galesburg CUSD 205 Board of Education is conducting a search for a new superintendent. The selection of a new superintendent is probably the most important decision a board of education has to make; therefore, the Board has hired the Illinois Association of School Boards (IASB) to assist in this process.
develop a brochure to advertise the position.
This survey will be available until 11:45 p.m. on February 13, 2017.


I have been working with regular expressions quite a bit over the last few weeks, and have had numerous occasions when the regex I'm writing doesn't do what I want it to do.
I would consider myself somewhere between beginner and intermediate when it comes to regexes. I know how to do most simple things, and I understand why a lot of fairly complex regexes are written the way they are. However, when it comes to actually writing complex regexes, I usually find myself forgetting something really simple, or banging my head against the wall over and over again because I can't figure out the one character I need to add or take out of it.


Discussion in 'Touring and Adventure Cycling' started by Fietslogies, 18 May 2010.
The fourth edition of this special event is on sunday 26th of september 2010.
The lovely villages of Vinderhoute (Lovendegem), Merendree (Nevele) and Drongen (Ghent) host this year. The event starts at 11 am and ends at 18 pm. The cycling tour is a modest 25 km and will bring you towards european and non-european classical music in churches, (private) castles, an abbey, a farm and some charming cafes or simply in open air.
If not cycletouring at that time in Flanders, you can rent a bike at Ghent Uitbureau, +32 9 233 77 88 or contact one of the local bicycle renting companies.
The full programme as well as more practical information will be posted on http://www.festivalgent.be on 26th of august 2010. Tickets should be bought in advance, as the event is always sold out.


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Solskyddsmedel är produkter avsedda att appliceras på bar hud som inte skyddas av kläder, och ger ett skydd mot solstrålning genom att dämpa den ultravioletta strålning (UV) som når huden vid solbad och andra utomhusaktiviteter i starkt solljus. Solskyddsmedel förekommer i olika form, exempelvis sololja, solkrämer och stift. Solbränna som uppstår vid solning är en del av kroppens naturliga skydd mot solens skadliga strålar, där UV-strålning är en naturligen förekommande del. Graden av skydd som ett solskyddsmedel ger vid normal användning mäts i form av dess solskyddsfaktor.

Enligt en undersökning publicerad sommaren 2012 är svenskar dåliga på att skydda sig på rätt sätt mot solen.

Användning
Det är viktigt för alla människor att skydda sig mot solen eftersom den kan orsaka hudcancer eller påskynda hudens åldrande, och extra viktigt är det för barn.

För att solskyddsmedel ska ge fullgod effekt krävs vanligen att en riklig mängd appliceras på huden. Läkemedelsverket rekommenderar en vuxen person med normal kroppsbyggnad att använda cirka 30 ml (en handfull) solskyddskräm till hela kroppen. För ett fullgott skydd rekommenderas även att man smörjer in sig på nytt efter varje bad.

Barn

Barn har tunnare och känsligare hud än vuxna. De skyddas främst i skuggan och bör bära kläder med långa ärmar och ben samt solhatt. Då behövs inget solskyddsmedel förutom eventuellt i ansiktet. Om barnet använder solskyddsmedel är det viktigt att regelbundet smörja in barnet, även om vattenfast solskyddsmedel används. Små barn, i exempelvis barnvagn, skall aldrig vändas med ansiktet mot solen eftersom det finns risk att barnets ögon bränns sönder. Spädbarn bör undvika att vistas i solen, däremot kan spädbarn över sex månaders ålder vistas korta stunder i solen under förutsättning att skyddande kläder och solskyddsmedel med hög skyddsfaktor (30–50) används.

Förvaring
Solskyddsprodukter bör förvaras svalt (inte i solljus) och konsumeras före bäst före-datumet, annars kan skyddet försämras.

Negativa effekter
År 2010 visade en rapport att en stor andel solskyddsmedel hade brister. Mer än hälften av de testade produkterna hade så allvarliga brister att de förbjöds, medan övriga åtgärdades.

Pyttesmå partiklar i vissa solkrämer och smink, så kallade nanopartiklar, har under 2000-talet använts för att krämen inte ska lägga sig som en vit hinna på huden utan ge en mer genomskinlig effekt. EU-parlamentet beslutade 2009 att alla hudvårdsprodukter med nanomaterial skulle genomgå säkerhetstester. 2010 fanns ingen forskning som kunde påvisa om nanopartiklarna är skadliga för människa och miljö. Från och med 2013 måste tillverkarna deklarera i innehållsförteckningen om det finns nanomaterial i till exempel solkrämer och smink.

UV-strålning
Det finns två typer av ultravioletta strålar som når jordytan:

UVA-strålar som tränger långt in i huden och gör att det pigment vi redan har mörknar, men också att huden blir rynkig och åldras för tidigt.

UVB-strålar som medverkar till att bygga upp ett skyddande pigment, men som också gör att du bränner dig om du solar för länge.

Se även
 Oktylmetoxicinnamat

Källor

Läkemedel
Friskvård
Solbad

redpajama_set_name: RedPajamaWikipedia


I am about to purchase a JBIG2 PlugIn license now but I also need one to work with v11.
Will the license v12 also work with the older version?
I have not heard back so I just purchased the PlugIn for v12.
Now I see that it does not work with v11. Is there a possibility to get me also a license for v11?


text:
Don't Get Rooked

Challenge from ACM ICPC Mid-Central USA 1998.

TLDR Description

Dots can see vertically and horizontally but not diagonally.

Dots can't see over walls.

Find out the maximum number of possible dots on the board without them seeing each other.

Method

Places dots around walls (horizontally and vertically, not diagonally)

Remove any conflicts (dots see each other)

Add additional dots on board where no conflicts arise

Count number of dots present, this is the maximum possible number

@since 29-07-2017

@version 1.0

@author RMatos

@see

Challenge Description Website

Challenge Description pdf

redpajama_set_name: RedPajamaGithub


Are you a type A personality?
I have three words for you, DYMO. Label. Makers.
In today's giveaway we have two different DYMO Label Makers as prizes.
Two readers will win one of the machines each. The first prize winner will get the Dymo machine of their choice. And the runner up will get the remaining Label Maker.
This is a sleek, powerful and portable machine. It has a large LCD display, convenient keyboard, memory storage and simple-to-use features. It is perfect for labelling everything you need around the home such as Toys, CDs, files, toolboxes, cabinets and drawers. I have had one for a while and everything gets labelled, including the cat.
This is the most popular of DYMO's label printer range. It is really small and compact for the job it does. You use it with your computer to make many different styles of labels. It comes complete with USB and power cables, DYMO LabelWriter labelling software, a starter roll of address labels, User and Quick Start Guides and a cleaning card.
You can buy DYMO Products at Officeworks stores in Australia.


text:
Q: Does BouncyCastle have a SecureRandom service? I'm trying to generate cryptographically secure random numbers using Java and using the following code section to create a SecureRandom object to view its provider and algorithm:
Provider prov=new org.spongycastle.jce.provider.BouncyCastleProvider();
Security.insertProviderAt(prov, 1);

SecureRandom sr=new SecureRandom();
srProvider=sr.getProvider().toString();
srAlgorithm=sr.getAlgorithm();

(spongy castle is bouncy castle equivalent for android made by Roberto Tyley - https://github.com/rtyley)
When I display provider and algorithm, it shows: Crypto version 1.0 SHA1PRNG
What surprises me is that the provider isn't Spongycastle even if it is installed as the first provider in the code. I'd like to ask you a) Isn't SecureRandom implemented in Spongy Castle (or Bouncy Castle). b) What "Crypto version 1.0"  exactly is (I mean is it Sun JCE provider or what?)
Thanks...
Rubi

A: Bouncy Castle does provide a set of Pseudo Random Number Generators (PRNGs). There are many names for PRNG's; NIST calls them Deterministic Random Bit Generators (DRBGs). They are however only available in the "Lightweight" API of Bouncy Castle, in the package org.bouncycastle.crypto.prng.
However, Bouncy Castle is a software-only implementation of cryptographic algorithms. This means that it doesn't contain a source for entropy. Entropy cannot be generated by software alone as software algorithms themselves are deterministic. So even if the Bouncy Castle provider would register some of the generators in its "BC" provider (or Spongy provider for Android) then it would still have to rely on the same entropy source as the platform SecureRandom implementation.
As the entropy source is likely the culprit for most performance issues, you should not expect wonders of Bouncy Castle with regards to random number generation efficiency.
Currently (v1.54) the Bouncy Castle provider doesn't register any SecureRandom implementations at all, so there's that.

A: Assuming you are running on Android (you didn't state this explicitly). Bouncy Castle does not provide a SecureRandom implementation. 'Crypto' is the Apache Harmony (on which most of Android's core Java code is based on) JCE provider. There is no Sun JCE code in Android. BTW, the 'Crypto' provider only provides SHA1PRNG (RNG), SHA-1 (hash) and SHA1withDSA (signature) implementations. Everything else is provided by either Bouncy Castle or the OpenSSL-based provider.
Question: Why do you think you need a SecureRandom implementation from Bouncy/Spongy Castle?


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Константин Фёдорович Майоров (3 июня 1909 года, Пенза — 29 июля 1990 года, Москва) — советский военный деятель, генерал-лейтенант (1958 год).

Делегат XXI (внеочередного) съезда КПСС (с 27 января по 5 февраля 1959 года).

Начальная биография
Константин Фёдорович Майоров родился 3 июня 1909 года в Пензе.

Учился в профессионально-технической школе квалифицированных рабочих имени «КИМ» в Ульяновске.

Военная служба

Довоенное время
16 сентября 1927 года призван в ряды РККА и направлен на учёбу в Ульяновскую пехотную школу имени В. И. Ленина. В 1929 году вступил в ряды ВКП(б). После окончания школы в мае 1930 года назначен на должность командира взвода в составе 2-го Ульяновского полка (1-я Казанская стрелковая дивизия), а в октябре 1931 года переведён на должность помощника командира роты во 2-м Татарском стрелковом полку, дислоцированном Казани.

В марте 1932 года переведён в 244-й стрелковый полк в составе 82-й стрелковой дивизии (Уральский военный округ), дислоцированный в Перми, в составе которого служил на должностях командира роты, начальника штаба батальона и начальника полковой школы.

В сентябре 1939 года назначен на должность командира 4-го стрелкового полка в составе 98-й стрелковой дивизии, а в декабре того же года направлен на учёбу на курсы «Выстрел», после окончания которых в мае 1940 года вернулся на прежнюю должность. 15 июня 1941 года дивизия в составе сформированной 22-й армии начала передислокацию на запад в район Полоцка.

Великая Отечественная война
23 июня 1941 года основные силы дивизии прибыли на станцию Дретунь и затем заняла рубеж по реке Западная Двина между городами Дисна и Дрисса, где вела оборонительные боевые действия с 26 июня, а с 22 июля — в окружении в районе Невеля, из которого вышла 21 августа.

В сентябре 1941 года майор К. Ф. Майоров назначен на должность командира командира 934-го стрелкового полка в составе 256-й стрелковой дивизии, которая с 15 октября вела боевые действия в районе Калинина в ходе Калининской оборонительной и наступательной операций и непосредственного освобождения города.

В январе 1942 года назначен на должность командира 131-й отдельной стрелковой бригады, формируемой в Уральском военном округе. По завершении формирования брагада была передислоцирована на Калининский фронт, где с апреля вела боевые действия на реке Воря западнее Ржева, а в июле прикрывала выход из окружения 39-й армии в районе города Белый.

В августе 1942 года бригада под командованием К. Ф. Майорова передислоцирована на Северо-Кавказский фронт, где в составе 11-го стрелкового корпуса вела оборонительные боевые действия на эльхотовском направлении, а затем в ходе наступления принимала участие в освобождении городов Прохладный, Георгиевск, Минеральные Воды и Кропоткин.

В январе 1943 года назначен на должность заместителя командира 10-го стрелкового корпуса, который вёл боевые действия в ходе Краснодарской наступательной операции.

В июле 1943 года К. Ф. Майоров направлен на учёбу на ускоренный курс Высшей военной академии имени К. Е. Ворошилова, после окончания которого в декабре того же года направлен в распоряжение Военного Совета Забайкальского фронта, где 14 февраля 1944 года назначен на должность командира 275-й стрелковой дивизии, которая 8 июля 1945 года была передислоцирована в район Староцурухайтуй, откуда 9 августа перешла в наступление в ходе Хингано-Мукденской операции во время Советско-японской войны; вела боевые действия в районе городов Ирэктэ, Сыпингай, Цицикар и Тайлай и станции Чжаланьтунь, а также в преодолении горного хребта Большой Хинган.

Послевоенная карьера
После окончания войны находился на прежней должности.

7 января 1946 года назначен на должность командира 94-й стрелковой дивизии, а 28 января того же года — на должность командира 292-й стрелковой дивизии в составе Забайкальско-Амурского военного округа. С августа состоял в распоряжении Военного совета округа и в октябре того же года назначен на должность командира 20-й отдельной стрелковой бригады (Западно-Сибирский военный округ), дислоцированной в Омске.

В октябре 1947 года К. Ф. Майоров направлен на учёбу в Высшую военную академию имени К. Е. Ворошилова, после окончания которой в феврале 1950 года назначен на должность командира 360-й стрелковой дивизии (Туркестанский военный округ), в июне 1954 года — на должность командира 20-го гвардейского стрелкового корпуса (Киевский военный округ), в июне 1956 года — на должность командира 10-го гвардейского стрелкового корпуса (Одесский военный округ), в ноябре того же года — на должность 1-го заместителя командующего 14-й гвардейской армией, а в июне 1957 года — на должность командира 25-го армейского корпуса.

С января 1960 года генерал-лейтенант К. Ф. Майоров служил на должностях заместителя командующего войсками и начальника Управления боевой подготовки Прикарпатского военного округа, с июля того же года — на должности начальника управления кадров Сухопутных войск СССР, с апреля 1964 года — на должности начальника 1-го управления Главного управления кадров МО СССР, а с января 1968 года — вновь на должности начальника управления кадров Сухопутных войск.

Генерал-лейтенант Константин Фёдорович Майоров 26 февраля 1971 года вышел в запас. Умер 29 июля 1990 года в Москве.

Награды
 два ордена Ленина (19.06.1943, 20.04.1953);
 три ордена Красного Знамени (29.12.1941, 06.11.1947, 22.02.1968);
 орден Суворова 2 степени (31.08.1945);
 орден Отечественной войны 1 степени (06.04.1985);
 орден Красной Звезды (03.11.1944);
 медали;
 иностранная медаль

Память

Примечания

Литература

Ссылки
 Майоров

Члены КПСС
Делегаты XXI съезда КПСС
Командиры полков в Великой Отечественной войне
Командиры бригад в Великой Отечественной войне
Командиры дивизий в Великой Отечественной войне
Участники битвы за Москву
Участники советско-японской войны (СССР)
Выпускники курсов «Выстрел»
Выпускники Военной академии Генерального штаба


text:
Cosmos: War of the Planets / War of the Planets / Cosmo 2000: Planet Without a Name / Cosmo 2000: Battaglie negli Spazie Stellari / Anno Zero: Guerra nello Spazio (1977/1978) -***
This was a new experience for me. Never in the eleven years that I've been writing these reviews have I ever spent so much time simply trying to figure out which the hell movie I just watched. Alfonso Brescia made two cheap-ass attempts to cash in on the Star Wars phenomenon in 1977, which he shot simultaneously, employing the same core cast, the same sets, the same special effects models, and even the same incredibly cheesy theme song. (Sadly, only a few seconds of "We Are Not Alone Here in Space" made it into the English-language dub of Cosmos: War of the Planets— probably because its intended audience would actually have understood the English-language lyrics: "Every day, every day, amazing flights / And angels in shocking spaceships / We are not alone here in space because / Here in space, we have brothers.") Just about the only unambiguously distinguishing feature between them is the fact that Gisela Hahn appears in Battaglie negli Spazie Stellari ("Battles in the Stellar Spaces") but not in Anno Zero: Guerra nello Spazio ("Year Zero: War in Space"), and it took me a good long while to dig up even that. And in case we weren't already plenty confused enough by all the shared credits and equipment, Brescia's twin 1977 Star Wars wannabes even ended up sharing titles, as the one film's complete name later became the other's subtitle, when Anno Zero was reissued as Cosmo 2000: Battaglie negli Spazie Stellari somewhere along the way to becoming Cosmos: War of the Planets. For some idea of the chaos this has caused, check out the user reviews on the Internet Movie Database page for Battle of the Stars (as Battaglie negli Spazie Stellari may— and I emphasize may— have been called in English-language release); every review save one is actually talking about Cosmos: War of the Planets instead! And although the IMDb lists both Battle of the Stars and War in Space as English-language titles for Battaglie negli Spazie Stellari, I have to consider both identifications to be somewhat suspect. War in Space, after all, was the English export title of a Toho sci-fi epic that was also released in 1977, and the only unmistakable trace I could find of anything called Battle of the Stars— an entry on a website devoted to pre-Video Recordings Act British VHS releases, bearing a small but pretty nice scan of the box art— gave a synopsis that clearly referred to Cosmos: War of the Planets as well. In the end, about the best evidence I can find that Battaglie negli Spazie Stellari was ever shown in American or British Commonwealth theaters at all is the confusion over its release date, with most sources favoring 1977 but a few others stubbornly holding out for 1979; that's the sort of thing you see most often when a film was exhibited at different times in different territories.
So having ascertained that Brescia did indeed make two of his inimitable clunky space operas in 1977, and that Cosmos: War of the Planets is one and not the other, where does that leave us? With something considerably more enjoyable, if very nearly as stupid and nonsensical, as the following year's War of the Robots, I'm pleased to report. Whereas the latter movie is content to be just lumpishly and inertly bad, Cosmos takes things to a level at which you almost have to ask if Brescia could possibly have been serious.
Take the opening scene, for example, in which Captain Alex Hamilton (John Richardson, of Torso and Frankenstein 80) and the crew of his ship— the ship to which he won't be assigned until three scenes from now, I hasten to emphasize— encounter a space mirage. No, really. The ship's computer calls it "the refraction of an explosion that occurred ten billion years ago," but what that really boils down to is a space mirage. Everyone on the bridge can plainly see the explosion, but the computer can't comply with Hamilton's order for an automated course correction to dodge the debris because it swears there's no debris to dodge. There's a supposedly tense moment as a huge asteroid chunk hurtles toward the stubbornly non-evading ship, but then the vessel passes through the illusion unharmed, the computer offers its belated analysis of what just happened, and the whole bridge crew jumps up from their seats and starts hugging each other. That last will happen each and every time Hamilton and his people narrowly escape from danger, so you'd better get used to it.
The next we see of Captain Hamilton, he's at Orion Headquarters— mission control for all mankind's space travel endeavors— punching out one of the senior officers. As he subsequently explains to Orion chief Commander Armstrong (Romeo Costantini), Hamilton considered it a personal insult that the other officer habitually delegated all his decision-making responsibilities to Orion's supercomputer, the Wiz. (Suddenly WOPR sounds almost dignified, doesn't it?) Armstrong essentially solves the discipline problem that Hamilton represents by moving it offsite. He places the insubordinate captain in charge of the spaceship MK-31, which is scheduled to repair a far-off sensor platform for monitoring cosmic rays, on the theory that Hamilton's excess of initiative will actually be useful in a situation of independent command in deep space.
Segura (Vassili Karas, of The Arena and The Ten Gladiators), the man who goes out to fix the century-old device when the MK-31 finally reaches its destination, nearly gets himself killed doing it, but neither that nor the outbreak of hugging that follows his rescue by Hamilton is important now. And the non-sequitur montage establishing love affairs between Hamilton and Mila the communications officer (Yanti Somer, who'd be back for War of the Robots and Star Odyssey in the years to come) on the one hand, and two older, more… shall we say mechanically inclined crewmembers on the other? That's of less immediate importance still. No, what really matters at the moment is the mysterious signal from even deeper in space, transmitting thinly disguised snippets of Bach's "Toccata and Fugue in D Minor" on all frequencies in such a way as to play havoc with every piece of electromagnetic receiving gear on Earth. The press is jabbering about an impending invasion from the stars, and Commander Armstrong wants Hamilton to take the MK-31 out at once to find and neutralize the source of the transmissions. Hamilton doesn't want to. Armstrong says he has to. Hamilton says Armstrong isn't the boss of him. Armstrong reminds him that he is. The pointless, childish bickering continues until Armstrong invokes the Wiz, and then Hamilton really gets pissed off. Eventually, Armstrong sics the base psychiatrist on Hamilton to wear him down with a combination of reverse psychology and feminine wiles, and that finally does the trick.
Not far from the unexplored planet that appears to be the home of the galaxy's loudest and most irritating classical music station, the MK-31 is attacked by a pair of unmanned flying saucers. Richard (West Buchanan, from Ring of Darkness and House of Pleasure for Women), the ship's first officer and helmsman, manages to shoot down one of them, but the other scores a direct hit on the MK-31's power plant before zipping off as though there were someplace else it really needed to be. The second saucer eventually travels all the way to Earth, where it stealthily lands above the Arctic Circle, and proceeds to do not one goddamned thing for the whole rest of the movie. The MK-31, meanwhile, tumbles out of control through space until it falls into orbit around the world that was supposed to have been its destination to begin with. Hamilton orders the separation of the landing module, which will facilitate both the accomplishment of their actual mission and the repairs to the main engines. (This exact plot device would resurface in War of the Robots; it wouldn't make any sense that separating the crew from the damaged engines would make it easier to fix the latter then, either.) Crewman Jack (Daniele Dublin, from Emmanuelle & Joanna and Short Night of the Glass Dolls) wanders off alone during the initial surface reconnaissance, blunders his way into Space Stonehenge, and gets himself killed there by a robot that makes even the one in Devil Girl from Mars look respectable. (I'll give the props-and-costumes guys this much, though: off-the-shelf suit of late-medieval plate armor? Slightly better choice for a robot body than off-the-shelf gorilla suit.) The other explorers hear Jack's scream, and Hamilton quickly organizes them into a pair of search parties, with strict orders for the members of each group to keep each other in sight at all times. Naturally, this means that Greta (Katia Christine, of The Hand that Feeds the Dead and Lover of the Monster) immediately wanders off by herself, too, and is also killed. (Don't worry about her, though— she gets better.) Finally, Hamilton's party is surrounded by bald, green-skinned, pointy-eared aliens led by Aldo Canti (whose character would serve exactly the same function in War of the Robots as well), and the aliens' wise man explains to the Earthlings about the pathetic killer robot. Perhaps reasonably assuming that this might have something to do with both the flying saucer attack and the interstellar Bach assault, Hamilton agrees to destroy the robot for the aliens. What none of the humans realize yet is that the robot is merely an avatar of the computer system that the aliens' ancestors once built to manage their entire civilization for them— that is, a more advanced and ambitious counterpart to Hamilton's hometown nemesis, the Wiz— which has malfunctioned and turned megalomaniacal. As its creators devolved in the absence of any need to think or to do anything for themselves, the computer arrogated to itself the privileges of an adventure-serial volcano god, and now it's thinking about expanding its sphere of influence to other inhabited planets. Like Earth, for example.
The fascinating thing about Cosmos: War of the Planets is that unlike War of the Robots, it actually does have a clear and fairly worthwhile story, except that that story is completely invisible until after the film is over. While you're watching, it looks like nothing more than an hour and a half of Ted V. Mikels-style random meanderings, as no scene bears any apparent logical or thematic connection to the one before it. Stuff generally is happening at all times, but at any given moment, there doesn't seem to be much purpose or pattern behind it. It almost feels as if editors Larry Marinelli and Carlo Reali (the latter of whom, by the way, is credited under the delightful "English" pseudonym Charles Really) just spliced Brescia's preferred takes together in whatever order they fell to hand, without reference to script, cutting continuity, or anything. Especially during the first 45 minutes or so, it's entirely too easy to get lost altogether and tune out everything but the overall impression of cheapness and tackiness conveyed by the images onscreen. Yet if you do succeed in reaching closing credits, all the paths suddenly become visible, even if most of them are pretty overgrown in places. Even a few bits that have nothing to do with anything in narrative terms become thematically important once it becomes apparent that the aliens' situation is meant as a forewarning of where humanity's increasing reliance on machines is leading. Look at the satellite-repair scene at the close of the first act, and at the double romantic interlude aboard the MK-31 a bit later. Both of these scenes exist to draw a contrast between Hamilton's "natural" style and the mechanized "modern" way, to show how humanity is unwittingly following in the aliens' footsteps. When Segura gets acid from the satellite's corroded batteries on his space suit, leaving him just three minutes to return to the ship before decompression kills him, the rest of the MK-31 crew is stymied by the failure of the standard automated, mechanical solutions to the problem. It falls to Hamilton to strap on a space suit, and to bodily drag the stricken astronaut back inside. Most commentators seem to dismiss the scene as a lame copy of the disastrous extravehicular excursion from 2001: A Space Odyssey, but that isn't all that Brescia is doing here. Then while the captain romances Mila the "old-fashioned," "obsolete" way, with hands and lips and prolonged close-range eye contact, the other couple are shown making love through the intermediary of a machine that stimulates the limbic system directly, so as to mimic the neurological effects of sexual intercourse. Mila, who has never experienced anything like Hamilton's hands-on approach, comments afterward that she'll never use the brain-zapping sim-sex gizmo again, casting her vote for animal vigor over technological sophistication. This isn't to say it was a good idea to use seriously a concept that was played for laughs years before in Barbarella and Sleeper. It does, however, mean that what looks on the surface like a pointless curlicue is really among the more meaningful moments in the film. I've occasionally heard it argued that Brescia is unfairly condemned as a hack, and that reviewers who do so are letting the poor-quality presentations that his science fiction movies have received in the English-speaking world blind them to those movies' underlying merits. And maybe they're right, since even the US version of Cosmos: War of the Planets hints at one or two potentially interesting things going on beneath its tawdry surface. I can't say that what I saw gives much sign that Brescia was any good at this sort of thing, but I will aver that a close examination of the picture indicates that he was, if nothing else, no worse a hack than the majority of his fellows within the Italian exploitation movie industry.
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ADHD: Outside the Box with Dr Kevin
By Dr. Kevin
Many of us in the U.S. are familiar with ADD, so bear with me while I break it down one more time—ADD, ADHD, or ADD/HD as I call it, is a disability that causes individuals to engage in hyperactive, impulsive behaviors, rendering them unable to focus. Or, as defined by the U.S. National Library of Medicine:
Attention deficit hyperactivity disorder (ADHD) is a problem of not being able to focus, being overactive, not being able control behavior, or a combination of these. For these problems to be diagnosed as ADHD, they must be out of the normal range for a person's age and development.
According to "Diagnostic and Statistical Manual of Mental Disorders," published by the American Psychiatric Association, ADHD is characterized by a pattern of behavior—present in multiple environments, such as school or in the home—that result in performance issues in social, educational, or work settings. These behaviors include failure to pay close attention to details, difficulty organizing tasks and activities, excessive talking, fidgeting, or an inability to remain seated in appropriate situations.
Basically, the box is: these kids and adults are disabled; they can't focus, can't function and need to be medicated in increasing quantities. Once again, America has been saved by tireless, selfless pharmaceutical companies that, out of the goodness of their hearts (they are nonprofits, right?), will save our children (and now adults) from this epidemic.
Epidemic?
The last decade saw a 67% increase in diagnosis of children with ADHD, making it the second largest childhood diagnosis following asthma. Why the increase? Some claim it's due to "improved education and awareness."
The National Institute of Health (NIH) rates the misdiagnosis at 20%, one of the highest out there. Why? Because it's an observational diagnosis, and too easy to label, disable, and continually medicate. Those who are diagnosed are never "cured;" instead, more labels are added. What is and is not ADHD becomes diluted and confusing. Some of this is the doctor's fault, but not all. School systems demand testing, and parents—struggling with their roles—research the issue and bring their child to the office with a diagnosis in hand, wanting confirmation. If the diagnosis is observational in nature, and the parent says all the right things, what is the doctor to do?
Solution in a Box (or Pill Bottle)
Labeling ADD/HD as a disability mentions nothing about a lack in parenting, or environment or diet as contributing factors, or the current condition of the nation's educational systems; apparently, none of the exterior factors are at fault here. Whatever they are fed, how they are raised or educated, has nothing to do with it. Once ADD/HD is labeled as a disability, we can pity the child and feel bad for the parents, but don't even think about seriously addressing educational issues or paying attention to the toxic poisoning of children through diet. The best and most convenient solution is to medicate. Yes, the inside the box solution is to label, disable and medicate, so everyone can continue their lives uninterrupted.
Let's Look Outside the Box, Shall We?
I refer to ADD as a gift, as part of the evolutionary process, and those individuals are the architects of our age. My first book Managing the Gift: Alternative Approaches for Attention Deficit Disorder stated that we should call it CIS—Cultural Inconvenience Syndrome—instead of ADD, or Attention Deficit Disorder. That label, in and of itself, is a misnomer, because individuals with ADD can be hyper-focused and are able to multi-task. CIS was what the mad dash to label, disable and medicate children was really about—the need to herd free-thinking individuals back in with the rest of the sheep. When engaged in something of interest, they are scarily brilliant; when trying to fit them into an educational box that is the wrong shape, they flounder. You can't teach a fish to climb a tree. You're better off helping them into the right stream, river, lake, or ocean.
Each person has unique traits and talents. Our society, however, recognizes only those traits perceived as "normal," which makes it difficult for children with ADD/HD to "fit in." Regardless, unique traits can be utilized as opportunities to achieve great things.
An abbreviated list of the gifts of ADD/HD:
◦ Love to learn
◦ Highly energetic
◦ Brilliant
◦ Creative
◦ Outside-the-box thinking
◦ Non-linear thought patterns
◦ Ability to hyper focus
◦ Able to absorb a great deal of information in short time periods
◦ Child-like nature
◦ Empathetic
◦ Justice-oriented
◦ Naturally rebellious
Children with ADD/HD are often labeled as spoiled brats or troublemakers. The U.S. National Library of Medicine suggests that long-term expectations of untreated ADHD may lead to "trouble with the law." Sounds like we're doomed, right? Sadly, this deluded label has gained strength over the years through confirmation bias, leading many to consider ADD/HD as a parent or teacher's worst nightmare. How can parents and children cope with such a common misconception? Although it may be a difficult path, simply taking a look at those who now live (or have lived) successful, full lives with ADD/HD can give one hope. Many people haven't let a diagnosis stand in their way, and those with ADD/HD are not alone.
Of the many things that make people with ADD/HD stand out, the best gifts—when harnessed—are creativity, intuitiveness, artistic ability, inventive aptitude, visionary thinking and exuberant attitudes. Many famous people have used those traits to achieve their full potential, such as: Edgar Allan Poe, Leo Tolstoy, and Ernest Hemingway, whose written works stand the test of time; Steven Spielberg, who delights the eyes with flashy cinematography and effects; Beethoven and Mozart, whose melodious notes are still loved by many; John F. Kennedy, Abraham Lincoln and George Bush, whose lives grace history books across the globe; Albert Einstein, Isaac Newton, and Galileo, who revolutionized the world with their observations and discoveries. Many of those mentioned were reportedly gifted with ADD/HD. And the list goes on. Amidst behaviors that are thought to lead to failure, individuals have achieved incredible feats.
ADD/HD: Gift or Curse?
Is ADD/HD a gift? Absolutely Can it be turned into a curse? Absolutely. There are people, companies, organizations, and politicians who don't care about a child's best interest, only about them as a cash cow.
Billions of dollars are spent by drug companies on advertisements, lobbying legislates, and funding (read: controlling) of the majority of research studies. Meanwhile, the number of things that exacerbate the gifted child's (and adult's) behaviors—which seemingly need medication—are on the rise: toxic diets, overstressed and underfunded schools, the mandatory testing in "every child left behind," and less presence parenting coinciding with an inconsistent multitude of adults involved in shaping, molding and raising children at even younger ages. How can you have a series of paid adults of varying quality raise your child and then wonder how they turned out so poorly?
Why is the rate of misdiagnosis that I reviewed earlier important in understanding the gifts of ADD/HD? People struggle to see the gifts because of the dilution of the diagnosis and the misinformation provided by those who benefit from medicating and disabling children. Children who are gifted—highly intelligent, creative, outside the box thinkers and problem solvers, energetic, justice-oriented, natural born rebels, empathetic and intuitive. The degrees of these gifts vary, but if a child is truly ADD/HD, a majority of those positive labels will fit. I created a scale called the Dr Kevin Rainbow on my app, on which there are 64 unique shades to portray the multiple variations of how ADD/HD plays out.
Fact: The same criteria to identify ADD/HD individuals was passed around thirty years prior to identify gifted kids, in order to create special programs for them. When the government didn't want to pour money into these programs, the criteria was repurposed to identify ADD kids—which is a money maker.
Fact: The U.S. ranks 17th in education around the world, dropping 0.4% last year, according to the Pearson Report. The five highest ranking countries have much lower ADHD diagnosis and rarely medicate.
Fact: The U.S. spends more per student than most countries, but this does not translate to better performance. For example, the Slovak Republic spends around $53,000 USD per student and the U.S. spends over $115,000 per student. The countries rank the same on the Organization for Economic Co-operation and Development (OECD) findings.
Fact: The overall message to parents with ADD/HD children is that they will only perform well if medicated.
Fact: Drug and pharmaceutical companies were the number one lobbyist industry in Washington DC last year, spending over $280 million ($100 million more than the number two industry, insurance) to ensure their agenda receives support from lawmakers. From 1998 to 2018, the industry spent over three billion dollars on lobbying, over a billion more than the insurance lobby.
Fact: Studies done outside the US—not funded or influenced by drug companies—have differing conclusions from US-based studies. First, studies focused on the fact that children on ADHD medications were better with memorization, while downplaying that there was no actual increase in comprehension. Then, studies that were largely ignored stated that comprehension may have even declined in students. Then, studies said that over a 2-3 year period, the non-medicated ADD/HD child catches up and performs as well, if not better than the medicated child. Then, a US-based study states that ADHD students perform better with medication (according to what criteria?). Then, the Quebec Study—conducted over eleven years with four thousand students, more than twice as long as almost all of the US studies and including a much larger number of participants—reveals that ADHD non-medicated boys perform better and medicated ADHD girls show more mental and emotional issues than their non-medicated counterparts.
Fact: The disability lies not in the child.
Labeling ADD/HD as a disability mentions nothing about a lack in parenting, or environment or diet as contributing factors, or the current condition of the nation's educational systems; apparently, none of the exterior factors are at fault here. Whatever they are fed has nothing to do with it. Once ADD/HD is labeled as a disability, we can pity the child and feel bad for the parents, but don't even think about seriously addressing educational issues or pay attention to the toxic poisoning of children through diet. The best, most convenient solution is to medicate. Yes, the inside the box solution is to label, disable and medicate, so everyone can continue their lives uninterrupted.
Outside the box:
We must accept there are many players in the creation of ADD/HD as a curse, instead of the gift that some of the aforementioned individuals made it out to be. These factors are such things as:
◦ Diet
◦ Inappropriate educational models
◦ Lack of engagement with critical thinking skills
◦ Lack of time to release energy
◦ Parenting performed by a variety of inconsistent adults
◦ Exposure to toxic environments
◦ Labeling as disabling; consistently telling someone they're disabled eventually disables them
◦ Focusing on what they're not, rather than what they are and need
◦ No Child Left Behind Act, aka "every child left behind"
Whether we like it or not, our educational system is mediocre at best—especially compared to the rest of the world. Whether we like it or not, our government is much more sensitive and responsive to the needs of those served by lobbyist dollars that run Washington—or to the big spenders that fund campaigns—than to an individual child or adult. Whether we like it or not, our children are being poisoned—negatively effected by the diet we feed them and the environment around them at increasing rates. Whether we like it or not, we can not trust information from authority figures who are directly or indirectly compensated, or profit off of what we do with that information. Whether we like it or not, our life is our responsibility, our children's life is our responsibility, and in this day and age being gifted or having a gifted child that doesn't fit inside the box is not easy. Whether we like it or not.
Dr. Kevin Ross Emery is a sought-after leader, innovator, author, teacher, synergetic catalyst, speaker, and an expert in the ADD/HD field. He has worked with American Express, Dartmouth College, Hilton, and Sheraton, and has been a driving force for the creation and implementation of training programs in banking, retail, food and financial service industries for decades. Dr. Kevin's approach to ADD/HD reveals it as a gift that, when properly managed, contains potential for formidable levels of creativity, innovation, multitasking and more. As an international speaker on the subject, Dr. Kevin was among the first to publicly acknowledge ADD as a step forward in the evolution of humanity, eventually allowing us to reach new feats of achievement. Join Dr. Kevin on his weekly live call-in radio show every Thursday night, 6 PM EST : "The Dr. Kevin Show" @ ipmNation.com/live2.
Learn more about Dr. Kevin at MyDrKevin.com or WebOfLight.com. Contact Dr. Kevin at DrKevin@WebOfLight.com.
Book Dr. Kevin for a session at SessionsWithDrKevin.as.me.
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The Campbell Brothers' Love Supreme
The 'sacred steel' sounds of the Campbell Brothers transformed the post-modern Walker Art Center's McGuire Theater into the Gospel According to Coltrane last Thursday evening. Steel guitars are the "weird uncle" of the guitar family, their emotive and sometimes otherworldly cries can reach places in a listener's subconscious that are usually the province of vocalists, violinists, and theremin players. The Campbell Brothers are the world's foremost practitioners of this esoteric discipline. When they set out to interpret John Coltrane's masterpiece A Love Supreme, music aficionados took notice.
This was a refreshingly honest concert: no light shows, costumes or other gimmicks, just the Brothers and the music they love. Even the sound was not augmented: although the amplifiers and drums were being miked, it was for a radio simulcast, not for the PA system. Starting off with a few of their 'hits', a captivating groove was set from the beginning: Wade in the Water, Hell No, Heaven Yes, and an emotional rendition of Sam Cooke's A Change is Gonna Come. The centerpiece of the show was, of course, A Love Supreme, nearly forty minutes of inspired play/worship. Transcendent at times, driven by Phillip Campbell's driving chords, his son Carl's inventive drumming and the soaring sounds of Chuck and Darrick's steels. It isn't often that such merging of styles is so seamlessly integrated. Bassist Daric Bennett was exemplary as well, holding down the groove with a minimal style then opening up on an extended solo.
A welcome break from the midwinter blahs, a restorative for mind and spirit.
By Professor Batty
Explodo Boys
JFDR


Miguel Angel Jimenez, who is increasingly known as 'The Most Interesting Man in Golf', was photographed closely examining a 'lifeless' rodent in a bunker at the Scottish Open in Royal Aberdeen last Thursday. Having scoured the available reports and photos, I still have not been able to confirm whether, a) Jiminez's ball was in the same bunker as the rodent, and b) if the rodent was alive or dead. What I have determined, is that most of the reports of the incident are confused about any ruling that may or may not have applied. For example, two of them quoted the fact that Rule 23-6 applied; not only has there never been a Rule 23-6; but Decision 23/6, which dealt with the subject of a dead land crab in a bunker, was withdrawn from the Decisions book In January 2012.
Q.A player knocks down the side of a bunker with his foot in an effort to get his feet on the same level. Is this permissible?
A.No. Such action constitutes building a stance in breach of Rule 13-3.
A player can also incur a penalty for a breach of Rule 13-4a if they dig in with their feet in excess of what would be normally be done for making a stance for a stroke or a practice swing, as this would constitute testing the condition of the hazard.
After she was advised of the penalty that she had incurred Ahn said that she was unaware of the rule.
"I didn't know about the rule. All I was trying to do was make a stance," she told ESPN, speaking through an interpreter.
"It's my mistake. If that's the rule, I have to abide by it."
Click on www.RhodesRulesSchool.com for an indispensable resource for anyone who wishes to improve their knowledge and understanding of the Rules of Golf.
I saw television coverage of the Ahn Sun-ju incident on Sky Sports. She certainly appeared to spend an excessive amount of time getting her feet into position. However, her stance was on a sloping part of the bunker and the sand looked very soft. I can see how the committee came to the conclusion they did though.
Thanks for sharing this information. The telling point is that Ahn did not realise that you are not permitted to move the sand to improve your stance, which I find amazing.
In the case of Jimenez couldn´t be possible to apply Decision 1-4/9?
Possibly, but as I said, I am not even sure that Miguel's ball was in the bunker; no-one has confirmed.
I agree. Worrying. When next will she breach a rule that she doesn't know about and there are no cameras or Rules Officials about to say no. I thought all Pros had to learn the Rules to get their ticket.