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Archives for posts with tag: Farmer Duck
Picture Book Vitamins
Part I of II
"Before I start writing a novel I read CANDIDE over again so that I may have in the back of my mind the touchstone of that lucidity, grace and wit."
We all need encouragement and inspiration. We could wait for it to arrive, but that can easily resemble waiting for the Titanic to dock in New York. We can also go out and grab it. As Somerset Maugham knew, rereading a book one greatly admires can inspire our own writing.
What picture books do you reread because they've set the bar for your own writing? Simply rereading them can bring great encouragement. Ruminating on why you love them and how the author did was he did can often bring inspiration.
My list of picture books that function like vitamins for my own writing has, naturally, evolved over time. But the list always stretches from books I experienced as a child to books published in recent years.
Here is a partial list of my vitamin books and a brief explanation why. I hope you'll share some titles from your list of picture book vitamins.
BARK, GEORGE by Jules Feiffer. (Harper, 1999): This has all the things I love about folktales. Cumulative. Over the top situations. Broad humor and a sly double-kick-flip at the end!
FARMER DUCK by Martin Waddell. Illus. by Helen Oxenbury. (Candlewick, 1991): This is a dynamite read aloud. Repetition. Humor. So much shared in so few words. And, teamwork helps the victim survive and thrive.
GEORGIE by Robert Bright. (Doubleday, 1944): I first encountered this book on the TV show Captain Kangaroo in the 1950s. Then and now, I love the gentle plot and aural rhythms. What's it about? Small changes can trigger large consequences. We are all interconnected. And, perfection might not be so perfect!
IT LOOKED LIKE SPILT MILK by Charles G. Shaw. (Harper, 1947): Seemingly simple, playful and literally engages the child by encouraging vocal response.
MIKE MULLIGAN AND HIS STEAM SHOVEL by Virginia Lee Burton. (Houghton, 1939): This also likely a memory from Captain Kangaroo. I love the rhythms, the battle of old against new, the triumph that creates another challenge. Action, lights, camera! And an ending that transcends expectations.
WHO'S AT THE DOOR by Jonathan Allen. (Tambourine, 1992): By now there are so many picture book riffs on folktales you can't swing a rejection slip without hitting half a dozen. This one stands out for me for several reasons. It's a hoot to read aloud. It cleverly makes use of half page turns. And rather than just telling the story of the three pigs from the wolf's perspective, it is more of a sequel featuring pigs who have learned a lot and won't be fooled again.
As I look at this list I realize how these "vitamin books" have both influenced my books to date, but also reveal my goals for future manuscripts. Thanks to you all for sharing the names of your vitamin picture books.
Tags BARK GEORGE, Farmer Duck, GEORGIE, Helen Oxenbury, inspiration for picture book writers, IT LOOKED LIKE SPILT MILK, Jonathan Allen, Jules Feiffer, Martin Waddell, MIKE MULLIGAN AND HIS STEAM SHOVEL, Robert Bright, Virginia Lee Burton
Categories Essays About Picture Books, Picture Books, writing children's books, Writing Picture Books, Writing Picture Books for Children
Talking Animals in the Human World
Who Do Not Talk to Humans
A popular sub-genre of talking animals is that of talking animals within the human world. These animals talk with one another and talk with the reader, but the humans in the story have no idea the animals can talk at all. This genre focuses on environments where humans and animals share space: farm, zoo, and, occasionally, the wild. Like the Gary Larson cartoon (above) these animals appear to live an animal's life, but speak and often behave like people when humans aren't there to see them.
The farm is the predominant setting for these stories. It creates an immediate bridge between the domestic world of humans and the wild life of animals. Due to the species best known as farm animals (horse, cow, pig, sheep etc) the farm doesn't even need to be mentioned or shown. In HATTIE AND THE FOX by Mem Fox the only sign of human life is the barbed wire fence in a few of Patricia Mullins' illustrations.
THE FOX AND THE HEN
The farmer and family appear in novels like BABE and CHARLOTTE'S WEB, but have no idea their farm animals speak with one another. Because picture books are typically illustrated on every page the farmer rarely appears. And if he does, it is most often at a distance. Animals may talk, gossip, and have their own human-like lives, but not at the same time they are traditional animals in a farmer's barn. The animals must maintain their cover whenever he's able to see them. To have humans actually converse with animals or casually accept behavior like a cow in a kilt dancing on two legs would be a completely different level of fantasy.
The silly goose in Roger Duvoisin's PETUNIA has one scene that includes the farmer, but she only speaks when he is out of sight. Janet Morgan Stoeke's sweetly naïve Minerva Louise enter the farmer's house, but the people have no idea she is there.
MINERVA LOUISE
Three well-known picture books demonstrate the delicate balance between talking animals and humans when they do interact. Ferdinand (FERDINAND THE BULL) and his mother may speak, but they do not speak with the humans at the bullfight. The animals in Martin Waddell's FARMER DUCK interact with the farmer, but when they do they do not speak in human language. They merely moo, baa, oink etc. The animals in Doreen Cronin's CLICK CLACK MOO communicate with the farmer, but once again it is at a distance. They type messages, but never speak face-to-face in the same language.
As a literary element, talking farm animals have the following to offer writers:
*A domestic setting without humans
*The sense of a secret world right under the noses of adults. What child wouldn't love that situation?
*A cast of characters that do not threaten one another. For danger, the fox must be introduced.
Just like some poets draft a poem in both free verse and rhyme to see which form best serves the idea, picture book writers have the chance to draft a story with humans, with domestic talking animals, and with animals free of all human contact. What matters most is which form best serves and shares the story.
Books Referenced Above
BABE, THE GALLANT PIG by Dick King-Smith. 1983.
CHARLOTTE'S WEB by E.B. White. Harper, 1952.
CLICK CLACK MOO: COWS THAT TYPE by Doreen Cronin. Illus. by Betsy Lewin. Simon & Schuster, 2000.
FARMER DUCK by Martin Waddell. Illus. by Helen Oxenbury. Candlewick, 1991.
THE FOX AND THE HEN by Eric Battut. Boxer Books, 2010.
HATTIE AND THE FOX by Mem Fox. Illus. by Patricia Mullins. Simon & Schuster, 1987.
MINERVA LOUISE by Janet Morgan Stoeke. Dutton, 1988.
PETUNIA by Roger Duvoisin. Knopf, 1950.
THE SECRET CHICKEN CLUB by George Shannon. Illus. by Deborah Zemke. Handprint, 2005.
THE STORY OF FERDINAND by Munro Leaf. Illus. by Robert Lawson. Viking, 1938.
THE SECRET CHICKEN CLUB
Tags anthropomorphic characters in picture books, BABE, Betsy Lewis, CHARLOTTE'S WEB, CLICK CLACK MOO, Deborah Zemke, Dorren Cronin, Eric Battut, Farmer Duck, Gary Larson, George Shannon, HATTIE AND THE FOX, Janet Morgan Stoeke, Martin Waddell, Mem Fox, MINERVA LOUISE, Munro Lear, Patricia Mullins, PETUNIA, Picture Books, Robert Lawson, Roger Duvoisin, talking animals in picture books, THE FOX AND THE HEN, THE SECRET CHICKEN CLUB, THE STORY OF FERDINAND, Writing Picture Books
WRITING TO BE HEARD: III
REPETITION * REPETITION * REPEITION
The use of repetition as style and language can enrich our picture book prose. It can be especially helpful in our efforts to evoke a story rather than merely tell it. A word or phrase used multiple times can be far more involving for the audience than a $50 adjective or newly found synonym.
For example, compare these variations for THE GINGERBREAD MAN:
#1 The Gingerbread Man ran like the dickens.
#2 The Gingerbread Man ran like the wind.
#3 The Gingerbread Man ran for his freedom.
#4 The Gingerbread Man ran and ran and ran and ran.
The first three provide information. The fourth version evokes a physical experience.
The body feels the experience through the repetitive sounds and rhythms just as it does in music. We don't want to replace all adjectives and adverbs with repetition. But it is a valuable option.
Whitman, 2006
In TEENY WEENY BOP (2006) author and storyteller Margaret Read MacDonald uses repetition to echo the of action of her statement.
"One morning Teeny Weeny Bop was sweeping her floor. She was sweeping her and sweeping her floor and…she found a gold coin in a crack in her floor!"
MacDonald's phrasing is far more interesting and involving than merely stating the information.
"Teeny Weeny Bop found a gold coin while sweeping her floor."
Like the example of THE GINGERBREAD MAN, Martin Waddell uses repetition to evoke passing time and Duck's exhaustion in FARMER DUCK (1991).
Candlewick, 1992
The lazy farmer's question, "How goes the work?" is always answered with Duck's "Quack!" At first this Q & A is surrounded by a few details of the work each time it appears. But once Duck's chores are established, the cycle is repeated six times in a row, and literally builds the burden of Duck's constant work.
In my own DANCE AWAY (1982) I could have gone from the first sentence—"Rabbit loved to dance"—and jumped right to the fifth—"Every time he danced, he smiled a big smile". But my three intervening sentences use repetition to evoke the intensity of Rabbit's love of dancing and establish a rhythm of dance that becomes crucial in the plot.
"Rabbit loved to dance. He danced in the morning. He danced at noon. He danced at night with the stars and the moon. Every time he danced, he smiled a big smile. Everywhere he danced, he sang his dancing song."
Just like wedging in a $50 word doesn't work, we can't stick in repetition where it doesn't belong and only becomes a distraction. But we can play with options. We always want to read our picture book manuscripts aloud. We can read them while standing too, and see where our voice and body may naturally lean toward repetition. Where do our ears long for another beat? Where do we find ourselves waiting for the second shoe to drop?
Take a second look at your favorite picture books. Do any of those texts use repetition? In what ways? How do you respond it? How does it serve the story? Here's a short list of other books that use repetition with great success. There are even more waiting at your nearest library.
THE CATS IN KRASINSKI SQUARE by Karen Hesse. Illus. Wendy Watson. Scholastic, 2004.
JERUSALEM, SHINING STILL by Karla Kuskin. Illus. David Frampton, Harper, 1987.
SQUEAK-A-LOT by Martin Waddell. Illus. Virginia Miller. Greenwillow, 1991.
TWO LITTLE TRAINS by Margaret Wise Brown. Illus. Jean Charlot. Scott, 1949.
Next week: Repetition as part of plot and structure
DANCE AWAY. Greenwillow, 1982
Tags bibliography, Dance Away, Farmer Duck, Karen Hesse, Karla Kuskin, Margaret Read MacDonald, Margaret Wise Brown, Martin Waddell, Picture Books, repetition and rhythm, repetition in prose, sound in writing, Teeny Weeny Bop, Two Little Trains, Writing Picture Books, Writing to be Heard
Categories Essays About Picture Books, Picture Books, Writing Picture Books, Writing Tips


The Idaho State Department of Education (SDE) has developed monitoring and data collection processes to meet the general supervision requirements outlined in the Individuals with Disabilities Act (IDEA) of 2004. These processes are compliant with the IDEA Part B State Performance Plan (SPP) and Annual Performance Report (APR) Indicators and focus on growth in performance areas. We work towards helping school districts be compliant while aiding them to improve outcomes for students with disabilities.


Do you use Evernote to take notes in the field, but then struggle to add them into Salesforce when returning to the office? While these are two of the best cloud applications available for managing notes, leads, or ideas for your business, integrating and sharing information between these two services is not a simple task.
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College of Medicine & Veterinary Medicine
College of Medicine & Veterinary Medicine home
Let's talk about health lecture series
Public lecture series 2018/19
Let's Talk About Health: Breast cancer - the advent of personalised medicine
Medicine & Veterinary Medicine
Most people associate breast cancer with women. However, men can also be affected. Currently, 1 in 8 women in the UK will be affected by breast cancer during their lifetime. Huge steps have been made in understanding some of the complexities underpinning this disease and developing increasingly effective treatment strategies. This started here in Scotland, with Beatson's discovery that in some women, removal of the ovaries can shrink tumours. Join us to hear about some of the key advances that have led to over 85% of women now living more than 5 years after diagnosis of breast cancer. We will explore exciting research aimed at developing new treatment strategies, that are personalised to the individual patient's cancer, to maximise treatment effectiveness and limit unpleasant side-effects.
Dr Helen Creedon, and Professor Val Brunton, Edinburgh Cancer Research Centre, The University of Edinburgh
Feb 15 2017 17.30 - 18.30
Join us to hear about some of the key advances that have led to over 85% of women now living more than 5 years after diagnosis of breast cancer.
Queen's Medical Research Institute
47 Little France Crescent
EH16 4TJ GB
This article was published on 21 Sep, 2017

redpajama_set_name: RedPajamaCommonCrawl


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Pandrosos var i den grekiska mytologin den uppfriskade daggens gudinna, dotter till den attiske kungen Kekrops (hennes systrar var Aglauros och Herse). Pandrosos hade på borgen i Aten en helgedom, Pandroseion, inom det vilket av Athena skapade heliga olivträdet befann sig, se Aglauros, Erechteus och Herse.

Källor

Gudar i grekisk mytologi

redpajama_set_name: RedPajamaWikipedia


Joe Barnard of BPS.space has flown his 1/48 scale Falcon Heavy model demonstrating the ability of the Signal flight computer to control a 3 core rocket. Each core was equipped with its own Signal FC and TVC (Thrust Vector Control) mount, by firing the two core boosters at liftoff the combined TVC control allows the rocket to pitch, yaw and roll about its axis.
As is demonstrated in the video below, the rocket executes a 20° roll program after liftoff and holds this until burn out before the centre core takes over and flys away.
The model even has a second stage fully equipped as well, lets hope we see an all up test soon!
I'll let the video do the rest of the talking!
Make sure to head over to BPS.Space and purchase one of these cool little flight computers that enable you to fly with thrust vector control!
BPS recently tested out a new experimental rocket motor from Aerotech, a G8ST. Producing an average thrust of 8.3N for 17.7s, this was the perfect motor for testing the in-house designed and built Signal avionics TVC package.
Revision 2 of the avionics is now available to buy, so if you are wanting to take your rocketry to the next level, you'll need this package to guide you!
A quick note: While the motor did melt the PLA tube holding it, the rest of the TVC assembly(outer/inner gimbal, servos, linkages) were unaffected. Since the heat of the motor was so intense, it's unlikely we'll be able to mitigate it using more liners than were already there. The same goes for using most other plastic FDM materials. For now, we'll probably cut the burn time down a bit and make sure users have access to extra motor mount tubes, should one of them melt. The motor tubes are incredibly easy to manufacture and replace, and the priority right now is ensuring Signal's software and UX are top notch.
Joe Barnard of BPS.space recently presented at the National Association of Rocketry annual technical conference in Houston on his efforts building and flying his own guidance computers and rockets.
Video Caption: The Friday evening keynote from NARCON 2018 in Houston, TX. Event and Q&A hosted by James Duffy.
A Thrust Vectoring FH Model Rocket…Yep!
A model Falcon Heavy with landing gear, gimbaled engines and a flight computer that will enable it to propulsively land! Yep you read right!
Joe Barnard of BPS, known for the development of the Signal Avionics, a thrust vectoring (plus lots more) flight computer for hobby rocketry, has been making a FH rocket!
No better way to test the avionics than on a three core booster, complete with hold down clamps and all!
Looking forward to seeing this fly!
Signal Alpha is now available from BPS (albeit you will have to wait till the new year for the next shipment). Not sure what Signal Alpha is? Well, in short, it is a thrust vectoring kit for model rockets and has a huge cool factor!
To go along with your purchased kit, Joe of BPS has made the below instructional videos to help you set up and fly your first guided (finless) rocket. Unfortunately, it is not available outside of the USA (yet!), but if you are there I suggest jumping on the next batch and take your model rocket flying to the next level!
Watch the video's below, it looks like a lot of fun to be had, kinda jealous until I can grab one!


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FIA post-race press conference - Italy
Italy Lewis Hamilton Felipe Massa Sebastian Vettel
DRIVERS: 1 - Lewis Hamilton (Mercedes), 2 - Sebastian Vettel (Ferrari), 3 - Felipe Massa (Williams)
PODIUM INTERVIEWS
(Conducted by George Lucas)
Q: This is amazing, simply amazing. Congratulations Lewis, you did a great job. You told me earlier when I was kidding you about these close call races of one or two seconds, I said 'why don't you win by 20 seconds?' and you said 'I could do that, I think'. Well, you did it in spades; I bow to you, you did a great job.
Lewis Hamilton: Thank you. Today… look at this crowd, it's incredible. Unbelievable fans here. I couldn't have done it without my team. I couldn't have done it without my team. I don't know if anyone can hear us. This team is just remarkable and what we have achieved together is so special, so I'm incredibly grateful to them for really working so hard through the weekend, through the last weeks, through the whole year to give me the car I had today. These guys also did a great job.
Q: Sebastian, I've been to the factory a few times and everybody has been talking about the new engine. Did the new engine live up to your expectations?
Sebastian Vettel: Well look at this. I think this says it all. Grazie a voi! Grazie tifosi! Questo anno è incredible… Grazie, a tutta la squadra dico ancora grazie.
Q: Felipe, how did it feel when you were coming up to the finish line there and your team-mate was only inches away from you?
Felipe Massa: It feels very tough! I'm getting old for that! I even said to the team I'm getting old! The last three laps of the race I was fighting with my team-mate. It was very difficult but we managed to be here. Grazie mille a tutti. Sono molto contento di essere qui con voi. Questo podio é meraviglioso. Questo rettilineo è fantastico. Grazie davvero. Siete tutti nel mio cuore.
Q: So Lewis, one last question: Do blonds have more fun?
LH: I hope so! Thank you everyone. Thank you to all the fans. You are the greatest fans here. Grazie a tutti.
Q: Lewis, the technical delegate has referred the team to the stewards saying that "the minimum measured tyre starting pressure of the left-hand side rear tyre of car number 44 was 0.3 PSI below the specified minimum tyre starting pressure" and a representative of the team is asked to go to the stewards. Do you have any comment to make on that?
LH: Not really no.
You're not aware of it?
LH: I wasn't aware of it, so…
Q: The team was asking you at the end of the grand prix to build a gap. You weren't sure what that was for, presumably that was linked to this issue?
LH: Maybe.
Q: They still haven't told you?
LH: No.
Q: Lewis, your 50th grand prix start for Mercedes, your third win here in Monza, seventh of the season, 40th of your career, now one short of Ayrton Senna, who I know was an idol of yours growing up. Really, obviously, the start was always going to be decisive. You took a defensive line, Sebastian had to go round the outside and from there on you seemed to be completely in control of the afternoon. Tell us about that and also the emotions of the afternoon from start to now?
LH: Yeah, this weekend has been just fantastic. It has been a perfect weekend for me. I don't know if I have ever had a weekend like this. This circuit is such a special one for… I think it's the same for all the drivers. When you stand on top of that podium you feel incredible pride and incredibly proud to be amongst the greats that have stood up there and when you see a sea of fans - a lot of them in red - but the sea of fans is just unlike anything I've seen. It's very emotional when you are up there. The race was fantastic. I got a good start. I think we all probably got a difficult start and managed to hold ground. Sebastian was really fair into turn one and after that it was really just chipping away, looking after the tyres, trying to look after the tyres whilst chipping away… trying to take time away, increase the time, the gap behind. I was generally able to control it really after that. I felt comfortable. The car balance I really got perfect for the race. Perhaps not so much for qualifying but perfect for the race. It was actually one of my favourite balances I've had through the year, in the actual race. The last few laps I was told to push and I'm thinking I've got quite a big gap already, so, for me, I was a little taken aback by it, but nonetheless I still managed to pull it out and do what they asked me to do. Big congrats to Sebastian and Felipe. I know these two have been pushing hard for a long, long time, so I feel proud to be up here with them as well.
Q: And you were 29 points behind coming here last year. You're 50 points ahead going away, over 50 points ahead going away this year.
LH: I don't understand…
Q: Rosberg retired
LH: I wasn't aware of that. Oh. Wow. I think our performance, my performance today, I have to really take my hat off to my team: they've done a remarkable job the last two years and I can't thank them enough. The constant attention to detail. Improvements they've been doing back at the factories in Brackley and Brixworth is just… I've never seen it before. Incredibly grateful for everything they've done.
Q: So Sebastian, you "were very fair in Turn One," says Lewis. You gave it a go. Did you think it might be on?
SV: I had to! Obviously I was on the outside so it was going to be difficult. I was a bit deeper on the brakes but yeah, I mean I have to give way, he's on the inside, the first corner goes to the right. It's a tricky one. We've seen across the various years you can get it wrong so I was quite happy. Tried to focus on the exit. He got a magnificent exit out of Turn Two so I couldn't really get a run on him. I was trying - but I couldn't get a run on him into Turn Four. After that I though, after the first couple of laps, I think at some points we were similar in lap time, he was only a tenth quicker for one or two laps, I thought that maybe now we get a chance to close the gap but then he just seemed to… in football you call it the second lung. I don't know - that's a German saying, it makes no sense in English - but he just seemed to find an extra switch and he was pulling away. I think myself, Felipe and the cars behind, we seemed to struggle with tyres, so we're losing pace whereas Lewis just kept doing what he was doing in the first couple of laps. So it was quite incredible to see and no chance to stay close to him. After that our race was pretty isolated but I knew I had to keep pushing. Seeing the pace that Lewis had, I knew that Nico eventually will have the same pace. He did in the end, he was closing the gap, it was getting quite tight but I think we could have managed and get the place even with Nico not retiring. So, in the end, to sum it up, it's fairly simple, it's the best second place I ever had. The emotions on the podium is incredible. If we take this away from the calendar for any s***y money reasons I think you are basically ripping our hearts out. We are here, we are racing and this makes it so much more worthwhile. It's what we're here for. You stand on the grid, you look to the left, you look to the right, people are just happy to be part of it and it makes our day. So, simple as that. It's incredible. So, thanks for this emotion on behalf of all the Ferrari team. Thank you.
Q: Felipe, on the podium here in Monza, second year in a row. Start obviously decisive for you as well because Kimi just didn't get away, you were very, very quick on to that and at the end you had a little bit of a tussle with your younger team mate once again, which you seem to be enjoying.
FM: Yeah, it's really emotional to be here. It's a fantastic race, very difficult from the beginning to the end, just trying to make the gap and then, the start was OK. It was not really that fantastic a start I had but it was really good to overtake cars and to manage to be in the position compared to the guys behind, so happy for that. But also, just the pace. Trying to open the gap against Valtteri. I went to the pitstop a little bit early and he stays on the track for a few other laps which helps a lot his tyres for the end of the race. Maybe I opened the gap anyway and we were doing good lap times to maintain the gap but at the end I started to lose performance on the rear tyres and he was catching me with better tyres as well. So, in the last three laps it was pretty difficult. He was catching me a lot, he was quicker than me. The only problem was the traction: he has better traction. So, I managed to fight, and getting to the podium was tough, three laps but I'm so happy for the position, so happy for the team. I think we managed to score great and fantastic points today. And also in this amazing place. Being on the podium here, with the whole straight of people so we cannot even see any asphalt, y'know. Even in Corner Three, from the podium. So it's really, I mean, definitely the best podium and very human. A very hot, human feeling when you see all these people.
QUESTIONS FROM THE FLOOR
Q: (Peter Farkas - Auto Motor) Sebastian, as you have said, there was a phase early in the race when you were just a couple of tenths slower than Lewis but then it has increased quite a bit. Why do you think this was? Was it just that your tyres didn't hold up so well because it was the end of the stint or was it because you weren't able to use the same engine modes as yesterday in qualifying?
SV: No, I think it's pretty simple. I was falling asleep! No, I was pushing as hard as possible and Lewis, I think, to some extent, did the same and yeah, I think you could see on my lap times also Felipe's - I got updated by radio that the lap times kept dropping so I guess we were struggling more with the tyres than Lewis was because he was able to do the same lap time on lap 22 as he did on lap four which is quite impressive. Obviously we had run down some fuel but tyres are 20 laps older. I think he said he felt well with the balance of the car which makes a huge difference so that's that. They were quick on race pace, quicker than us but potentially they had a bit better tyre wear or tyre degradation, let's put it this way, so I think that made the difference. On the first three laps I had a bit of hope and then, to be honest with you, I saw them going away, so yeah, that was that.
Q: (Andrea Cremonesi - La Gazzetta dello Sport) Lewis, have you already received an explanation, either before or after the podium, because you had to push, because there was a problem with the investigation of the tyres. Had they already explained to you or was it something else?
LH: As I just said, I don't even know about it.
Q: What was the second question? There wasn't one.
FM: He's amazing, he never asks one question, always two! I think he has a fever.
Q: (Frederic Ferret - L'Equipe) Lewis and Sebastian, what kind of help could you get with lower tyres pressures?
LH: 0.3 lower? Not really a huge amount on one rear tyre.
SV: Well, it's difficult to judge now because I don't know what was going on. I think it's not fair to hand that question to Lewis because he doesn't know what's going on, so that's that. In principle, the tyres last a bit longer, but as I said, I don't think... In a lot of respect and fairness he did a very good job today and you have to accept that.
Q: (Barna Zsoldos - Nemzeti Sport) To all of you, after such an emotional podium ceremony, what are your feelings when you hear that the future of Monza on the calendar is uncertain?
Q: Well, Sebastian has already made his feelings very clear on that one...
LH: I think we all have really. As I said on the podium, I said at the beginning here, this is one of the best tracks in the world. This has to stay here for moral reasons. As Felipe is saying, all those fans out there who come every single year. Are you going to take this Grand Prix away from us and put on another one, that would not have the same feeling, or would not have the special impact so we definitely have to keep this.
FM: I don't think they can take it out. The history of Formula One, this is history here, here is part of what is Formula One... everything that Formula One grows is a lot thanks to these races as well, to these people. We race for the people and when you see the podium with a lot of people like that and they're screaming and crying, I don't think we can lose that. This is part of our blood and we cannot lose this type of races. I really like to go to new countries, we go to amazing countries, countries that I even didn't know what they meant before and then I love to go there, many different countries and I'm really in favour to go there but you cannot lose something which is inside the blood as well.
Q: (Peter Farkas - Auto Motor) Sebastian, I think it's highly unlikely because Lewis finished more than 25 seconds ahead of you so even if he gets a penalty I don't think it will change the order but if he would lose the victory and you would win the Italian Grand Prix with Ferrari like that, what would be your emotions?
SV: Well, it doesn't change anything, emotions. I was second on the podium and that's the emotions I got and I'm grateful for them. I had a great car today, not good enough to win but good enough to just finish second.
Hamilton wins at Monza as Rosberg's hopes go up in flames


STAR works closely with the Carton Council to increase carton recycling in Texas and to educate Texans on the overall carton recycling process. Together with the Carton Council, STAR has produced several educational podcasts and even hosted several free webinars.
STAR, in partnership with Tetra Pak North America and the Carton Council, hosted a three-part webinar series in November 2015 that identified opportunities for expanding recycling in Texas and highlighted successful municipal recycling programs, both in and outside of the state. Each of the webinars focused on particular tools for moving material recovery forward in three key areas: infrastructure, policy, and education/communication. Slideshow presentations and videos from the webinar series are available here.
In this podcast we go behind the scenes to see how curbside carton recycling arrived in Denton, Texas. The story highlights the importance of public-private partnerships and strong educational campaigns. You can listen to "Carton Recycling Arrives in Denton," here.
STAR gives an exclusive look at how cartons are recycled featuring Fox River Fiber in Green Bay, Wisconsin. The story gives visuals on the breakdown of each step taken to recycle a carton all the way to the final new product. You can view and listen to "How Cartons are Recycled: A Story in Photos," here.


Movies|Is This a Man Who Sheds Light, or Simply Sets Fires?
Is This a Man Who Sheds Light, or Simply Sets Fires?
"American Radical: The Trials of Norman Finkelstein" is a cautiously respectful documentary portrait of a political firebrand who presents himself as a beacon of moral truth in the murk of the Israeli-Palestinian conflict. A scholar, author and passionate advocate of the Palestinian cause, Mr. Finkelstein, 56, is a thorn in the side of the Israel lobby.
Early in the film, directed by David Ridgen and Nicolas Rossier, Mr. Finkelstein is shown at a 1982 rally in front of the Israeli consulate in New York carrying a poster urging "Israeli Nazis" to "stop the Holocaust in Lebanon," referring to the Israeli invasion of that country. Until he was banned from traveling to Israel, he paid regular visits to Palestinian friends on the West Bank. He is a supporter of Hezbollah.
Mr. Finkelstein's inflammatory rhetoric has earned him many powerful enemies, most notably the civil liberties lawyer Alan M. Dershowitz, whose book "The Case for Israel" Mr. Finkelstein has called a fraud, accusing the author of plagiarism. Leon Wieseltier, the literary editor of The New Republic, describes Mr. Finkelstein as "poison: a disgusting self-hating Jew." Even Mr. Finkelstein's political ally Noam Chomsky questioned his judgment in picking some of his fights.
Born in Brooklyn, Mr. Finkelstein explains in the film that he inherited his temperament from his mother, Maryla Husyt Finkelstein. Both Maryla and Mr. Finkelstein's father, Zacharias, were survivors of the Warsaw Ghetto and of concentration camps. His father was interned in Auschwitz, his mother in Majdanek.
From Maryla, Mr. Finkelstein says that he inherited the conviction that Jews have a special obligation to ease the suffering of humanity because of what was done to them, and that it is not enough to pay lip service to one's convictions; they must be acted on. A childhood friend remembers her emotional investment in left-wing humanitarian causes as bordering on hysteria. Mr. Finkelstein recalls that as his notoriety spread, she came to feel he had taken her too literally and become a "Frankenstein's monster" on a path toward self-destruction.
The cost of Mr. Finkelstein's outspokenness has been steep. In 2001 he left Hunter College, where he had taught for nine years, after his teaching load and salary were reduced. He was subsequently hired by DePaul University in Chicago, where he became an assistant professor of political science. But in 2007 his bid for tenure, opposed by Mr. Dershowitz — who called him "a propagandist" and "not a teacher" — was denied, despite strong on-campus support.
Because it is a film, "American Radical" can only begin to sketch the complicated historical and political debates that engage Mr. Finkelstein and his detractors, but it allows both sides to make their cases. In his more reflective moments Mr. Finkelstein demonstrates an acute analytical intelligence and even an inkling of humor. "Speaking as a devout atheist, thank God in his Almighty wisdom that he made us mortal," he says.
But he also appears to be a man who reflexively rises to the bait: a strident polemicist who, however right or wrong, has chosen to travel a long, hard road.
Produced and directed by David Ridgen and Nicolas Rossier; directors of photography, Mr. Ridgen and Mr. Rossier; edited by Cameron Clendaniel; music by Judd Greenstein; released by Typecast Releasing. At the Anthology Film Archives, 32 Second Avenue, at Second Street, East Village. Running time: 1 hour 24 minutes. This film is not rated.


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Fewer Phone Books = More Trees + Less Waste
Every year, Harvard produces over 24,000 phone books that are distributed across the University, but this year - 6,000 (25%) fewer phone books will be produced (about 6,300 lbs - the size of 7 male polar bears!). While working with Green Teams...
HGSE Larsen Classrooms Achieve LEED-CI Platinum
The Harvard Graduate School of Education (HGSE) has recently received LEED for Commercial Interiors (LEED-CI) Platinum certification, the highest LEED certification level possible, for their latest classroom renovation in Larsen Hall . With this...
HKS Leads Grassroots Movement Discussion
As part of the Harvard Kennedy School Sustainability Initiative (HKSSI) Earth Month activities, Marshall Ganz , senior lecturer in public policy at the Kennedy School's Hauser Center , spoke to a diverse group from the greater Harvard...
A Healthier Campus: HKS Goes Smoke Free
There are no ifs, whys or butts about Harvard Kennedy School's new smoke-free policy. As of March 1, the entire HKS campus is smoke-free, meaning that smoking is prohibited inside any campus building or outside on HKS grounds, including the...
Ten Green Heroes Honored
Ten Harvard employees were honored at the 2013 Harvard Heroes ceremony for their commitment and contribution to Harvard's sustainability goals. As part of Harvard's ongoing effort to institutionalize sustainability into the culture of...
HKS Hosts First Zero Waste Alumni Reunion Weekend
Every May, Harvard Kennedy School (HKS) alumni return to Cambridge to honor achievements, share ideas, and reconnect during Reunion Weekend. With a long-standing tradition of seeking innovative solutions to local and global-facing challenges, the...
Harvard Participates in Worldwide PARK(ing) Day
On Friday, September 20, students and staff from the Harvard Graduate School of Design and the Harvard Kennedy School temporarily reclaimed three parking spaces and converted them into public "parks" in honor of worldwide PARK(ing) Day. PARK(ing)...
Greening the Kennedy School: Efforts to conserve energy are bearing fruit


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19 Eastgate
HE NEIDPATH PRESS came into being in 1899 when Allan Smyth became the sole proprietor of the business and the fifth owner of the weekly newspaper Peeblesshire Advertiser and County Newspaper which had began as the Peebles Monthly Advertiser in 1845. However, before that from 1880 to 1899 he had been a partner in the business with James Watson.
James Watson, a bookseller and stationer in the High Street, had acquired the ownership of the newspaper company in 1875 but leased the publishing and printing to a professional journalist James Young. Approaches at that time by Allan Smyth to James Watson to enter into joint ownership of the newspaper company were rejected. This led Allan Smyth starting up his own printing business in 1878 and he begn publishing The Peeblesshire Herald, which closed down in 1880 when he eventually became joint owner with James Watson of the Peeblesshire Advertiser.
As can be seen from the notice that subsequently ended the partnership, James Watson's declared interest was 'Bookseller'. It may be assumed that Allan Smyth as 'Printer' was the partner responsible for the development of the newspaper and the expansion of the printing side of business, taking the initiative to established the new printing plant which heralded a major step forward for the publishing company. It was erected on the first floor of T. W. Wallace, an engineering company in the Bridgegate and now the site of the housing complex at Provost Walker Court. In the 1930s there was evidence of the reinforcement made to the floor to take the weight of the printing presses and the ancillary equipment.
When the partnership was dissolved, The Edinburgh Gazette in July 7, 1899, p.67, carried the announcement confirming Allan Smyth as sole proprietor and thereafter the books printed and published carried the imprint 'The Neidpath Press | Allan Smyth | Printer & Publisher | Eastgate | Peebles'.
The Neidpath Press moved into its own premises at 19 Eastgate early in the new century. They did not have a frontage on the main street and the offices and printing works were located down a close that ran between the Social Club and McKenna the butchers: now Peebles Rugby Club premises and James Forsyth the Butchers.
When you entered the close you faced a magnificent etched engraving on opaque glass of Allan Smyth's device with Neidpath Castle proudly featured as the centrepiece surmounted by the Coat-of-Arms of the Royal and Ancient Burgh of Peebles. It was the door used by the proprietor, editor, office secretary and Peebleans visiting their first and oldest newspaper, the Peeblesshire Advertiser. The compositors and printers entered by the Works door at the side of the building, opposite to the entrance to the workshops of cycle agent J. M. Wallace, a son of Thomas Wallace
who founded the engineers in the Bridgegate and later developed a vehicle sales and repair garage with showrooms in the Northgate and on the corner leading to the LNER Station.
The Neidpath Press had a printing room on the ground floor with a paper store and metal remelting room attached; to get maximum light from the skylight windows the composing room was on the first floor and through from it was the office for the proprietor-editor and the chief reporter. Linking the composing room and machine room was a slim hoist to take the heavy metal formes (chases) containing the type pages for printing. To the rear of the building were outhouses with storage for back issues of the newspaper and for metal and ancillary machinery.
The composing room was lined with racks of typecases, most of the racks having two open typecases mounted on top containing the basic text fount of 7-point Minion used by The Neidpath Press for its newspaper and books.[photo (5)]
The lowercase on the frame had small letters, figures and metal spaces of varying widths to justify the line of type to the precise width; the case lying at an incline was the uppercase with capital and small capital letters, some punctuation marks and accented letters. In the centre of the room was the 'stone' on which all type was gathered together to be assembled for the newspaper or books or commercial jobs to be printed, ranging from personal visiting-cards, leaflet and noteheads to very large posters.
The type would then be locked in an iron frame (chase) using wooden wedges that were secured together to form a tight lock or by the modern method of metal bars tighten by a key. The type forme would then be placed in the hoist to be lowered into the print room ('machine room').[photo (6)]
The type for the newspaper and the books published and printed by The Neidpath Press was composed by hand until the late 1920s. This changed when a mechanical typesetting machine was installed. Their first machine was a very early model discarded by a national newspaper publisher and was a Mergenthaler Linotype machine. This in time was replaced by a modern Intertype composing machine and the illustration shows an Intertype similar to one use at The Neidpath Press.[photo (7)] It produced lines of type cast from an assembled line of matrices formed in response to a keyboard, the assembled line was then cast when presented to a mould of molten metal. The matrices were mechanically returned to a magazine ready to be used again; the cast lines of type were automatically assembled in a galley at the side of the composing machine.
It was a revolutionary change for a small newspaper printing office as the machine could produce the output of seven hand compositors in a single day. In the mid 1930s it was producing all the text required for the weekly newspaper and contributing in the typesetting of a number of commercial jobs. The compositors still had to typeset the display type (sizes above 12-point) for all the work produced.
The Machine Room had a Wharfedale printing press similar to the one pictured here. Its main job was to print the pages of the weekly newspaper on a Friday morning. It also could print eight-page sections of books and when printed on the reverse provided 16 pages; these 16-page sections were brought together to form the complete book which was then stitched and bound; hard-back bindings were contracted out.[photo (8)]
The Wharfedale printed all the major commercial jobs: the Burgh of Peebles Valuation Roll was a yearly job which listed all the properties in the burgh showing address, owner and tenant and rateable value; the annual Beltane programme; Freer Smith's large auction sale posters; and the Burgh Accounts. There were also two other printing machines: a small pedal-operated Arab platen for smaller-size printing invitations, concert tickets and business cards.[photo (9)]; also, a platen similar to one illustrated below, used for all quarto-sized printing.[photo (10)] Large in terms of floor space was a folder which folded and cut the printed sheets to form the pages of the Peeblesshire Advertiser. It also folded the large sheets of book pages to produce 16-page sections. In the adjacent paper store was a guillotine to cut paper to the size required for printing and to trim book-pages after they were collated into sections.
Arab Platen
Quarto Platen
Page Links ~ Index, 1, 2, 3, 4, 5, 6, 7, 8, 9


CTD was converted to exchange format using the new code. Old files were replaced and new ones are now online.
Updated CTD files obtained by Danie from Kristy McTaggert. Old files had problems with salinities that had a (seemingly) linear relationship with temperature. New salinities seem to be fine. Data flags for the old files were confused, new ones are fine. Translated new files into WHP-exchange format. All new files online.
Replacement ctd data to correct bad salinities.
Sumfile cast numbers were modified to match the cast numbers in CTD files. 00 was added. CTD were put into exchange format and the individual file names were modified. New zipped CTD file has been linked to website.
Sumfile station numbers were modified. CTD numbers were modified to match sum.
MCTAGGART, KRISTY would like the data PUBLIC.
Here are my comments and actions taken regarding PR15 and PR16 data in question.  Where I say I resubmitted data, you should've received an email from your web site interface BUT I couldn't upload the data through your web site interface from my PC because of an error message that said it couldn't accept my path and filename because of the ':' and '\' I guess (e.g. C:\woce\pr15\gp497w0011.ctd).  So all the files referred to by those web site emails can be retrieved by you from our anonymous FTP site, ftp.pmel.noaa.gov.  Login as user anonymous, password guest, and cd to /ctd/woce.  Let me know if you have any questions and when you've transferred the data successfully.
It has been brought to our attention that the ctd files for this cruise have misslabled SALINITY columns. Salinity is actually another temperature measurement. As per email from Michele Rienecker. PMEL has also been informed my M. Rienecker to send a corrected version of the data. Until this arrives, I have edited the index page to reflect this problem.
I downloaded the  PR15  CTD data file  from cruise 33KMGP497-1 (pr15.lst) from the whpo.ucsd.edu Web site. There seems to be a problem with the salinity in that file since it varies between 4 (deep) and 29 (surface), looking too much like the temperature profile!
Added SUM, BOT (some errors), CTD, and DOC to website. Data are public.


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Malcolm Turnbull faces section 18C test amid ethnic opposition — The Australian
by Jim Ball | Dec 29, 2016 | 18C, Blog, Human Rights Commission, Malcolm Turnbull | 0 comments
This is the end result of 40+ years of multi culti glad handing, pandering and appeasement whereby the minority tail now wags the majority dog. It's not about the numbers as such but the lobbies and the special interests and it infects both Liberal and Labor to the detriment of all Australians. The majority lobby and interest group, that of ordinary Australians gets ignored once again.
Now, watch Turnbull go to water.
"… Submissions from community groups to the inquiry, which the Prime Minister ordered to examine the law and the role of the Australian Human Rights Commission, show a backlash against reform that mirrors a campaign more than two years ago when Mr Abbott, as prime minister, promised to revoke 18C but was ultimately forced to abandon the controversial plan.
The Executive Council of Australian Jewry claims in its submission that any amendment to 18C would send "a strong and dangerous message from Australia's political leaders that a degree of racism in public discourse is to be considered acceptable".
The Chinese Australian Forum predicts any change "may well see the Coalition government lose power and seats in the coming elections", singling out the multicultural Sydney seats of Reid, Bennelong and Banks.
The comments have reignited divisions in the Coalition partyroom, with Liberal MP for Bennelong John Alexander questioning the need for the government-initiated inquiry.
Malcolm Turnbull is facing a test over section 18C of the Racial Discrimination Act from the same community and ethnic groups that derailed Tony Abbott's attempt to repeal it, as conservative MPs toughen their demands for change….." Malcolm Turnbull faces section 18C test amid ethnic opposition
FULL COLUMN BELOW
Pressure is building on the Turnbull government to back away from changing 18C, after the parliamentary joint committee on human rights published 135 submissions for its inquiry into freedom of speech.
Submissions from community groups to the inquiry, which the Prime Minister ordered to examine the law and the role of the Australian Human Rights Commission, show a backlash against reform that mirrors a campaign more than two years ago when Mr Abbott, as prime minister, promised to revoke 18C but was ultimately forced to abandon the controversial plan.
Mr Abbott said the situation today was different from 2014, citing the recent complaints made against Queensland University of Technology students and The Australian's cartoonist Bill Leak as reasons for change.
"(They) are egregious examples of this law being misused and the HRC going right over the top. There's far more evidence of the damage section 18C can do now than there was then," the former prime minister said.
"Amending 18C does not say it's OK to be racist. That's a ridiculous suggestion. It says it's not illegal to say something just because some people might find it insulting or offensive."
A Newspoll in October found that a majority of Australians — including Coalition, Labor and Greens supporters — opposed the legal case being taken against the QUT students for alleged racial hatred under section 18C of the Racial Discrimination Act. It revealed 57 per cent of people opposed the action, under which the students were being sued for $250,000 after making comments on Facebook about segregation when students were told to leave an indigenous-only computer lab.
Pro-reform government MPs have seized on support within the Jewish, Chinese, Greek and Islamic communities to change the Human Rights Commission's complaints-handling process and insist there is now an acknowledgment of a problem with the law.
Victorian Liberal senator James Paterson, who is a member of the human rights committee inquiring into 18C, said there was no way the government could embark on a reform process "that left 18C completely intact". "In 2014 most of the ethnic community leaders said there was no problem — not even the process of the Human Rights Commission," Senator Paterson said. " Now everyone agrees we need change to fix this problem. The only question is how best we do that. There has certainly been inefficiencies in the process but a better and more efficient processing of a bad law still leaves a bad law in place."
West Australian Liberal senator Dean Smith acknowledged the position of Australia's ethnic communities on 18C "looks to be consistent" with their 2014 views.
But he declared it was not inevitable reform would be abandoned because the debate was "significantly different".
"They (the ethnic communities) do admit there is a problem (with the AHRC's complaints handling process)," Senator Smith said. "This is an important and significant concession because they agree the way the law is applied is broken.
"It would be dangerous for people to assume that these opinions are the opinions of all Australians from multicultural backgrounds and that someone's ethnicity limits their desire for a greater freedom of expression in Australia."
Mr Alexander said ultimately he believed the committee would find "no change is really needed" to the law. But he backed modifications to the commission's complaints process.
He said the mood on 18C had not changed since Mr Abbott made a "leadership call" to back down from his 2013 election pledge to repeal the law. At the time Mr Abbott said he wanted the communities of Australia "to be our friend, not our critic".
Several community groups want the commission to minimise 18C claims brought in bad faith or which have no reasonable prospects of success before a court, and to speed up the conciliatory process. The Union for Progressive Judaism, which resources Jewish congregations, schools and youth groups, suggests the commission's president, currently Gillian Triggs, be required to say whether an 18C complaint has a reasonable chance of being upheld within 60 days of receipt.
If the applicant pursues a complaint in the courts after the president's opinion is expressed, the union recommends the president's opinion be disclosed when the application is filed.
The parliamentary committee is due to report on February 28.


Registration is now open to attend a local roadshow to find out more about the forthcoming North West Public Health Practitioner Scheme.
Each roadshow is a short discovery event aimed at the public health workforce and associated workforces that have a role in tackling the wider determinants of health and would be interested in the practitioner scheme as a development opportunity.
The purpose of the session is to provide a forum to update colleagues regarding the UKPHR public health practitioner development programme, plans for a scheme here in the North West and to gain insight into gaining UKPHR registration from a practitioner.
It will also provide the opportunity to register interest in the NW programme either in the capacity as an assessor, verifier or potential participant in the programme.
Friday 14 September, Preston - 9.00 am to 12.30 pm, Savoy 2, Lancashire County Council, County Hall, Fishergate, Preston, PR1 8XJ. Nearest main line station is Preston station. Please note there is a limit of 35 delegates for this event.


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Brexit: Business as usual for Diamond Pharma Services
There is, as one would expect, a period of uncertainty that will likely follow last week's news that the public of the United Kingdom voted in favour of an exit from the European Union.
This uncertainty is expected to be felt across a variety of sectors and, as yet, the impact on the pharmaceutical and biotechnology industries is not known.
The Diamond Pharma Services group of companies already function as a global organisation. In addition to our UK based teams, Diamond also has teams of our own fully trained staff in mainland Europe and USA. We also have a tight network of affiliates across Europe which will allow us to continue to operate all EU activities across the Regulatory and PV sectors.
Dr Maureen Graham commented "The proposed United Kingdom exit from the European Union has been a topic that Diamond Pharma Services has discussed internally since the Referendum date was set; we have been working to anticipate the effect this could have on our business, as well as our clients. We believe that we have positioned ourselves so that it is business as usual".
As the political and regulatory situation evolves, Diamond will take whatever measures are necessary to remain a leading consultancy, actively engaged with European National Competent Authorities and the European Medicines Agency (EMA).
About Diamond Pharma Services:
Diamond Pharma Services is a leading technical and scientific consulting group serving the biotechnology and pharmaceutical industry. The Diamond Pharma Services group specialises in EU and US regulatory affairs, product development, pharmacovigilance and compliance.


These Icons were done as part of my Icon-A-Day tutorial sires. In the 1.1 Icon Pack all Icons have been updated to include 256x256 Windows vista Icons. This is the last update to the 1.0 Icons, as I will be starting a new Icon-A-Day Vista Compliant pack in March. It will be based on the original pack but with all the newly supported vista Icons Included.
Live Folders are not showing when I apply the Iconpack looks stunning just not showing live folders for me?


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The Bodyguard at 30: Director reflects on Whitney Houston and songs
By oliver green On Dec 5, 2022
Just over 30 years ago, a smash-hit romantic drama-cum-thriller-cum-musical was released in cinemas, heralding the acting debut of Whitney Houston opposite Hollywood golden boy Kevin Costner.
The Bodyguard may not have been warmly received by critics at the time – and earned 1993's leading haul of Razzie nominations with seven (winning none) – but it also finished as the second highest-grossing film of the year behind Aladdin, and with two Oscar nominations.
It must also take credit for unleashing on the world what remains the best-selling movie soundtrack of all time; thanks to Houston's powerhouse vocals on tracks like Run To You, I Have Nothing and, of course, her iconic cover of Dolly Parton's I Will Always Love You, The Bodyguard's soundtrack has sold over 45 million copies.
In November, it had a theatrical re-release in cinemas to celebrate its 30th anniversary.
Director Mick Jackson remembers it as 'an unusual movie' for the time, with its combination of genres as well as songs that 'fell organically into the structure of the film' so that its untested leading lady could take advantage of the story being told primarily through The Bodyguard's music.
As Jackson puts it, the film was 'in development hell' for years, after screenwriter Lawrence Kasdan initially penned it in 1975. Its first stars were supposed to be Steve McQueen and Diana Ross, then Ross and Ryan O'Neal, before a later version swapped singing for stand-up with Whoopi Goldberg eyed up for the lead role.
It was Kevin Costner who go The Bodyguard off the ground after 17 years of setbacks, attaching Whitney Houston to co-star (Picture: Moviestore/Rex/Shutterstock)
It finally found a home when Kevin Costner came on board in the early 90s to play the titular role, Frank Farmer, working alongside Kasdan to get cameras on The Bodyguard rolling, and casting Houston.
They still needed to find a director though, with Jackson, now 79, telling Metro.co.uk: 'I got 12 versions [of the screenplay] to read after taking a call out of the blue at home from Kevin Costner, which is something of a surprise. He said, "Kevin Costner here, I'm making a movie with Whitney Houston, and I'm interested to see if you want to direct it?" So I gulped, and said, "Why me?" By that point, Kevin had won two Oscars for Dances with Wolves. "Why doesn't he do it himself? It's a Larry Kasdan script, why isn't he directing it?'"'
The Emmy and Bafta winner explained that Costner and Kasdan had been impressed with his film LA Story, starring Steve Martin, which they felt demonstrated a knowledge of the city. They also hoped he could guide them through the music business and the world of MTV music videos.
After reading through all the different versions of the script, Jackson opted for the original and set about sorting updates.
Director Mick Jackson was full of praise for his leading lady, Houston (Picture: Fabio Altobello/Pacific Press/LightRocket via Getty Images)
'It had a real fresh quality to it that the other scripts didn't,' he remembers. 'Every time you go into another rewrite, and different people are brought on, you lose something. I thought the original thing that Larry wrote had action and conflict, but in the middle of it, that relationship between the bodyguard and the woman he's supposedly prepared to take a bullet for had a kind of sweetness to it – the love that cannot be.'
Jackson, also known for directing Volcano and Denial, joined only a couple of weeks before production was due to begin and quickly scheduled a meeting with star Houston in New York City.
He called their dinner together 'very strange', due to the fact her real bodyguard was watching from the door and that she'd arrived in a Rolls Royce stretch limousine, meaning it was 'kind of like art meeting life'.
Houston played Rachel Marron, a music superstar and Oscar-nominated actress who is being sent death threats by a stalker, but the singer was aware of her possible limitations in the role.
'We talked about it, and she said, "Look, I'm not an actress, I'm a singer. How are we going to do this? Should I take acting lessons?" And I said, "No, no, you can't learn really how to act in a week."'
The singer made her acting debut in the role, with her performance criticised at the time, but songs on the soundtrack are now considered iconic (Picture: Warner Bros)
'The central problem when you've got something like this which is about a singer – do you take an actress who's a really good actress and teach her how to sing like Whitney Houston, which is virtually impossible in two weeks, or do you take Whitney as she actually is, a singing superstar essentially playing herself?' Jackson puts forward.
However, he and Costner had no qualms they had made the right choice, with Jackson describing it as 'no competition' and Costner likening her to 'a thoroughbred'.
Jackson says that she was 'very, very smart' too, and adds: 'Everybody wanted her to succeed, so we all had her back.
'I told her what I think is the main secret of movie acting, which is – don't act. The secret is that the camera can photograph your thoughts, you don't have to do anything!'
Jackson acknowledges that it wasn't 'a real stretch' for Houston to play a superstar and remembers her – who tragically accidentally drowned in her bathtub aged just 48 in 2012 – as 'a wonderful person' whom he loved.
Costner was also confident in Houston, even making a suggestion for her performance of I Have Nothing (Picture: Ben Glass/Warner Bros/Regency/Canal +/Kobal/Rex/Shutterstock)
The star, pictured here in 2009, sadly died in 2012 (Picture: Getty)
'I know she got panned a lot for her acting, but her acting was kind of secondary to her singing. The songs are actually going to carry the film's emotion. That's the secret of the film's success.'
I Have Nothing was inspired by Jackson's memory of Dame Shirley Bassey singing similar lyrics for I Who Have Nothing in the mid-1960s – and it was apparently Costner who suggested that spine-tingling full octave leap in the last verse, which Jackson directly attributes to it being one of the songs that was nominated for an Academy Award.
When it comes to what is the most popular recording for The Bodyguard, and the track that became Houston's signature song, Jackson reveals we almost had a very different musical choice, however.
'I Will Always Love You wasn't always the main song for the movie. Originally, Kevin was interested in pitching various songs, including some by The Allman Brothers. The one he really seemed to get fixated on though was Jimmy Ruffin's hit from 1966, What Becomes of the Brokenhearted. Everybody said, "Yeah it's a good song, but it's a bit of a downer. We really need something that is a bit more emotionally uplifting at the end." Somebody then suggested, what about that Dolly Parton song, I Will Always Love You, which was a country song she'd done in 1974.'
The rest, of course, is film history.
The song plays over the end scene when Rachel and Frank say goodbye at the airport – and Jackson had another classic airport parting from the movies in mind.
'At the end, when she runs to him from the plane, it echoes for me the impossible relationship like at the end of Casablanca. We shot it at Van Nuys Airport, which is over in the valley in LA where [parts of] that scene from the ending of Casablanca was actually shot.
'So I found a propeller plane that is very similar to one that was in Casablanca and put it in the background.'
The romantic final goodbye kiss, where Rachel boards the plane after saying farewell to Frank only to disembark again before take-off and run into his arms for their final clinch, caused a bit of a (literal) headache for the poor camera operator too as the team worked to achieve the 360° pans at a time when Steadicams weren't widely used in movies.
Instead, they used tracks, following Rachel's run in a long straight stretch before switching points like on a railroad and sending the camera onto a circular track to circle Costner and Houston's embrace.
Jackson was inspired by Humphrey Bogart and Ingrid Bergman's characters' love story in Casablanca for The Bodyguard (Picture: Sunset Boulevard/Corbis via Getty Images)
The award-winning director also spilled on some on-set stories, from singing to snow to flying camera operators! (Picture: Getty)
Jackson confesses: 'When we shot it, the first take was so good and the camera was going so fast in a circle that the centrifugal force threw the camera operator off his seat, but the cameras still went on because the dolly grips were still pushing – and he ran and caught up and climbed back on again. And that's the shot that in the movie!'
However, Jackson notes that after all of that, 'it didn't even make the cut for the MTV Movie Award for best kiss'.
The actual recording of I Will Always Love You was the last thing shot for the movie and filmed in the Grand Ballroom at the Fontainebleau Hotel Miami. This on-set recording version was what was used as well for the song's release, the memory of which moves Jackson to tears.
'She sang it a cappella, and then a simple backing track behind it when the music comes in, but the orchestra was added later. Normally when you shoot something for a movie and it then gets released as a song, you re-record it in the recording studio. But this was just, I mean the chills…'
Practically speaking, Jackson reveals he was trying to get the script cut down even before shooting began, aware of the $25million (£20m) budget and the fact that a film like The Bodyguard was unlikely to run longer than two hours. However, Costner apparently had an unusual explanation for why he thought it was worth shooting his preferred longer version regardless.
'He said – and this is a wonderfully ridiculous analogy – it's like the Thanksgiving or Christmas turkey. You wrap strips of bacon round it and, although you throw them away at the end, they actually make the thing much juicier. So, his theory was that he should actually act [in], and we should actually film, these extra scenes, knowing that they would probably get cut at the end so he could, in himself, store the juice from those.
'I think it actually pushed the budget up by about $10m (£8m), doing that, after I promised Warners I'd try and stay on budget…'
In the end, Jackson, Kasdan and Costner all presented their own cuts of The Bodyguard to the studio, with them opting to use much of Jackson's version.
Producer and star Costner (C) at The Bodyguard Hollywood premiere with Houston (L) and his then-wife Cindy (R) (Picture: Ron Galella Collection via Getty Images)
Mick Jackson on misconceptions about Whitney Houston
'A lot of people think of her as somebody who made wrong choices. We all make wrong choices. But she had a vulnerability about her and a sweetness about her, as well as the fact she could be a fearsome diva.
'But, for example, I remember when we had the premiere in LA of The Bodyguard and my dad came over from England with his girlfriend. I was trying to find a place for them to sit in the auditorium and Whitney was shouting out from the back, "Hey, make space for Mick's mum, come on, move out of there," which she didn't have to do it. She couldn't have been nicer. I'm just really sorry the way it ended for her.'
'They said, "We think this is going to be a home run for us," meaning this is going to blow all the records. It's not going to be a critically acclaimed film, but this is going to hit the spot. I've got to say that in the years afterwards, I got so many drinks from stewardesses on planes when they learned I was the director of The Bodyguard! It's literally intoxicating.'
Jackson also shared some fun behind the scenes anecdotes from the making of the movie, including the fact they ran out of snow near Lake Tahoe for the cabin scenes, having to 'truck it in by the lorryload from up in the mountains', as well as Costner springing his infamous crew cut on his director with no warning, resulting in its own Razzie nomination in the 'worst new star' category.
'I hadn't realised he was going do this, but he was absolutely right to do it. He'd been looking at pictures of Secret Service men and he went and got this crew cut and everyone said, "He can't be the romantic hero with a haircut like that!" And, of course, he was, and the movie works on that dynamic. He was a straightlaced guy with his own ethos, and here's a woman with her own drive, and they can't possibly fall in love – and they do.'
Costner modelling his divisive haircut (Picture: Moviestore/Rex/Shutterstock)
They also had their own instance of life mirroring art after 'a vague suggestion that someone weird was stalking the set' resulted in bodyguards for The Bodyguard.
'So, for some scenes – I mean, there's one in the movie where he [Costner as Frank] realises that the limousine he's in with Whitney is being followed by a car, and then the car makes off and he tries to catch up with it. Well, he had his own bodyguard for real who had to run with him and was really chasing the SUV! So again, art and life.'
More: Trending
Of the film's legacy and continued popularity, Jackson is grateful as he knows that nothing like that is ever guaranteed.
'I've learned that unless you get it right when you're actually putting the film finally to bed, it will never be right. It doesn't age like a good Scotch whisky on the shelf.'
Watching any of his films now, he also can't help himself in casting a critical eye over his past calls with cuts and close-ups.
'It's very satisfying when you realise that the decisions you took at the time were the right ones. It's awful when they weren't! I think some things I might have done differently now [with The Bodyguard], but the film is what it is, and I have enjoyed it when it has been re-released, knowing what it is and that it can still move people.'
If you've got a celebrity story, video or pictures get in touch with the Metro.co.uk entertainment team by emailing us [email protected], calling 020 3615 2145 or by visiting our Submit Stuff page – we'd love to hear from you.
MORE : James Cameron says Kate Winslet was 'traumatised' by Titanic
MORE : 'There's an inevitability about it,' says 50 Shades' Jamie Dornan on rumours of becoming the new James Bond
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Start-Ups fail at a very high rate. There is a lot more to starting a business than getting a name, license and location. Follow these steps to ensure success. Learn what to focus on and how to overcome common obstacles. Mistakes cost money and can bury your business early on.
Barry McKinley of SCORE has started, owned and operated 10 different companies in five different industries. He sold each of these companies to investors, employees and competitors including Fortune 1000 companies. With his vast experience he has been involved in all segments of business, from hiring, financing to sales and promotions and has counseled over 2,100 SCORE clients.
OCTA and Caltrans will host a public information meeting in an open house format to discuss the proposed project and the ongoing environmental review and preliminary engineering process.
Members of the public are invited to attend, meet the project team, learn about the project, its timeline as well as ask questions.
On Wednesday, July 25, 2018 at 6:30 PM, the Community Development Department of the City of Lake Forest will host a "Scoping Meeting" for the Nakase Project General Plan Amendment and Zone Change. The meeting will be held in the Council Chambers, Community Room B, at Lake Forest City Hall at 25550 Commercentre Drive. The purpose of the scoping meeting is to request input from resource agencies and the public regarding the scope and content of the Environmental Impact Report (EIR) being prepared for the project. While the scoping meeting provides a forum for gathering comments on the environmental analysis for the project, it is not a public hearing. No formal action will be taken regarding the project at the scoping meeting. The comment review period will run from July 16, 2018 to August 15, 2018, and all written comments will need to be submitted by August 15, 2018, to Marie Luna, Senior Planner, at mluna@lakeforestca.gov.


Fit Test Dummies David and Jill try out BodyBare Fitness's Top Trainer, which strengthens your core by suspending and keeping you off balance.
Verdict: This is a well made piece of equipment with sturdy tethers, high density foam handles and rubber footholds that are easy to get into and out of. The resistance bands also make it easier for less conditioned people to train with it because it makes it easier to get back into an upright position.


text:
Q: spark-submit continues to hang after job completion I am trying to test spark 1.6 with hdfs in AWS. I am using the wordcount python example available in the examples folder. I submit the job with spark-submit, the job completes successfully and its prints the results on the console as well. The web-UI also says its completed. However the spark-submit never terminates. I have verified that the context is stopped in the word count example code as well.
What could be wrong ?
This is what I see on the console.
6-05-24 14:58:04,749 INFO  [Thread-3] handler.ContextHandler (ContextHandler.java:doStop(843)) - stopped o.s.j.s.ServletContextHandler{/stages/stage,null}
2016-05-24 14:58:04,749 INFO  [Thread-3] handler.ContextHandler (ContextHandler.java:doStop(843)) - stopped o.s.j.s.ServletContextHandler{/stages/json,null}
2016-05-24 14:58:04,749 INFO  [Thread-3] handler.ContextHandler (ContextHandler.java:doStop(843)) - stopped o.s.j.s.ServletContextHandler{/stages,null}
2016-05-24 14:58:04,749 INFO  [Thread-3] handler.ContextHandler (ContextHandler.java:doStop(843)) - stopped o.s.j.s.ServletContextHandler{/jobs/job/json,null}
2016-05-24 14:58:04,750 INFO  [Thread-3] handler.ContextHandler (ContextHandler.java:doStop(843)) - stopped o.s.j.s.ServletContextHandler{/jobs/job,null}
2016-05-24 14:58:04,750 INFO  [Thread-3] handler.ContextHandler (ContextHandler.java:doStop(843)) - stopped o.s.j.s.ServletContextHandler{/jobs/json,null}
2016-05-24 14:58:04,750 INFO  [Thread-3] handler.ContextHandler (ContextHandler.java:doStop(843)) - stopped o.s.j.s.ServletContextHandler{/jobs,null}
2016-05-24 14:58:04,802 INFO  [Thread-3] ui.SparkUI (Logging.scala:logInfo(58)) - Stopped Spark web UI at http://172.30.2.239:4040
2016-05-24 14:58:04,805 INFO  [Thread-3] cluster.SparkDeploySchedulerBackend (Logging.scala:logInfo(58)) - Shutting down all executors
2016-05-24 14:58:04,805 INFO  [dispatcher-event-loop-2] cluster.SparkDeploySchedulerBackend (Logging.scala:logInfo(58)) - Asking each executor to shut down
2016-05-24 14:58:04,814 INFO  [dispatcher-event-loop-5] spark.MapOutputTrackerMasterEndpoint (Logging.scala:logInfo(58)) - MapOutputTrackerMasterEndpoint stopped!
2016-05-24 14:58:04,818 INFO  [Thread-3] storage.MemoryStore (Logging.scala:logInfo(58)) - MemoryStore cleared
2016-05-24 14:58:04,818 INFO  [Thread-3] storage.BlockManager (Logging.scala:logInfo(58)) - BlockManager stopped
2016-05-24 14:58:04,820 INFO  [Thread-3] storage.BlockManagerMaster (Logging.scala:logInfo(58)) - BlockManagerMaster stopped
2016-05-24 14:58:04,821 INFO  [dispatcher-event-loop-3] scheduler.OutputCommitCoordinator$OutputCommitCoordinatorEndpoint (Logging.scala:logInfo(58)) - OutputCommitCoordinator stopped!
2016-05-24 14:58:04,824 INFO  [Thread-3] spark.SparkContext (Logging.scala:logInfo(58)) - Successfully stopped SparkContext
2016-05-24 14:58:04,827 INFO  [sparkDriverActorSystem-akka.actor.default-dispatcher-2] remote.RemoteActorRefProvider$RemotingTerminator (Slf4jLogger.scala:apply$mcV$sp(74)) - Shutting down remote daemon.
2016-05-24 14:58:04,828 INFO  [sparkDriverActorSystem-akka.actor.default-dispatcher-2] remote.RemoteActorRefProvider$RemotingTerminator (Slf4jLogger.scala:apply$mcV$sp(74)) - Remote daemon shut down; proceeding with flushing remote transports.
2016-05-24 14:58:04,843 INFO  [sparkDriverActorSystem-akka.actor.default-dispatcher-2] remote.RemoteActorRefProvider$RemotingTerminator (Slf4jLogger.scala:apply$mcV$sp(74)) - Remoting shut down.

I have to do a ctrl-c to terminate the spark-submit process. This is really a weird problem and I have no idea how to fix this. Please let me know if there are any logs I should be looking at, or doing things differently here.
Here is the pastebin link of the jstack output of spark-submit process:
http://pastebin.com/Nfnt4XmT

A: I had the same issue with custom thread pool in my spark job code. I found out that spark-submit hangs with using custom non daemonic thread pools in your code.
You could check ThreadUtils.newDaemonCachedThreadPool() to understand how spark developers create thread pools or you could use this utils but be careful as they are package private.

A: For me:
On local it stops but keeps sending logs when executed on Cluster. I think it is expected behaviour.
Got this from another answer and worked for me.
val sc=new SparkContext(conf)
try{
      //code goes here
}
finally{
      sc.stop()
}

This technique worked both in Spark and PySpark.
sample shot

redpajama_set_name: RedPajamaStackExchange


text:
Photos / dharmendra india's got talent Photogallery
dharmendra india's got talent Photos
Last updated on Oct 1, 2011, 11.34
On the sets: 'India's Got Talent - 3'
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All students have access to the full G Suite of apps by Google. This includes a student email (@students.coconino.edu), access to Google Drive, Docs, Sheets, Slides, Forms, Calendar, and more. G Suite includes cloud-based document creationg and editing, unlimited storage, and easy collaboration between students.
To get started access the Student Email through the myCCC Portal.
For more information visit the G Suite Higher Education website.
For any issues or questions using the G Suite, contact the ITS Help Desk at 928-226-4357.


The ability to plan, systematically conduct and report on a major research project is an important skill for professional engineers. This unit of study builds on technical competencies introduced in previous years, as well as making use of the report writing and communications skills the students have developed. The research activity is spread over two units (Chemical Engineering Project A and B) run in first and second semester. In this unit of study, students are required to plan and begin work on a major research project, which is very often some aspect of a staff member's research interests. Some of the projects will be experimental in nature, while others may involve computer-based simulation, design or literature surveys. In this unit, students will learn how to examine published and experimental data, set objectives, organize a program of work and devise an experimental or developmental program. The progress at the end of Engineering Project A will be evaluated based on a seminar presentation and a progress report. The skills acquired will be invaluable to students undertaking engineering work. Students are expected to take the initiative when pursuing their research projects. The supervisor will be available for discussion - typically 1 hour per week.
School permission required for enrolment in semester 2.


text:
South WestNewsEntertainment
Motorfest torqued up for 10th year
Chloe FraserBusselton Dunsborough Times
Fri, 4 November 2016 4:10PM
Camera IconThe Good Guys Busselton manager Lisa English and employee Jo Fairhead, with car enthusiast and auctioneer Andrew Wynne. Credit: Graham Hay
Busselton's Motorfest is back for another year, celebrating its 10th anniversary on Sunday, November 27.
The annual car show was first inspired by Busselton resident Ray Dowell, who set out to find local "motorheads" to make his dream of having a local motor show come true.
It has grown from 150 exhibits to more than 340 exhibits since it's inception in 2006 and includes stationary motors, vintage vehicles, performance vehicles, speedway and drag racing cars and agricultural machinery.
Organiser Alison Ashton said Motorfest started as a "one-off" event but developed each year to become one of the region's most anticipated car shows.
"The fundraising side of the day is just as important to the show as the motors are," she said.
"More than $1000 worth of items donated by the Good Guys will be up for auction and the money will go towards helping the community."
The Good Guys Busselton manager Lisa English said the business was happy to support Motorfest given its "doing good factor" in the community.
Ms Ashton said the purchase of a stabilisation unit for the fire and rescue brigade was one of the many ways funds raised at last years Motorfest were used.
Ms Ashton said the event would have something for everyone, with free sideshow alley activities, music from the Broadbent Brothers and refreshments and food.
Motorfest will be held at Sir Stewart Bovell Oval.
Qld warns of change in group most at risk
Cripps to be stand-alone Carlton captainPremium


text:
package de.codecentric.boot.admin.server.utils.jackson;

import java.io.IOException;
import java.time.Instant;
import java.time.temporal.ChronoUnit;
import java.util.Collections;
import java.util.HashMap;
import java.util.Map;

import com.fasterxml.jackson.core.JsonProcessingException;
import com.fasterxml.jackson.databind.ObjectMapper;
import com.fasterxml.jackson.datatype.jsr310.JavaTimeModule;
import org.json.JSONException;
import org.json.JSONObject;
import org.junit.jupiter.api.BeforeEach;
import org.junit.jupiter.api.Test;
import org.springframework.boot.test.json.JacksonTester;
import org.springframework.boot.test.json.JsonContent;
import org.springframework.http.converter.json.Jackson2ObjectMapperBuilder;

import de.codecentric.boot.admin.server.domain.events.InstanceInfoChangedEvent;
import de.codecentric.boot.admin.server.domain.values.Info;
import de.codecentric.boot.admin.server.domain.values.InstanceId;

import static org.assertj.core.api.Assertions.assertThat;
import static org.assertj.core.api.Assertions.entry;

public class InstanceInfoChangedEventMixinTest {

	private final ObjectMapper objectMapper;

	private JacksonTester<InstanceInfoChangedEvent> jsonTester;

	public InstanceInfoChangedEventMixinTest() {
		AdminServerModule adminServerModule = new AdminServerModule(new String[] { ".*password$" });
		JavaTimeModule javaTimeModule = new JavaTimeModule();
		objectMapper = Jackson2ObjectMapperBuilder.json().modules(adminServerModule, javaTimeModule).build();
	}

	@BeforeEach
	public void setup() {
		JacksonTester.initFields(this, objectMapper);
	}

	@Test
	public void verifyDeserialize() throws JSONException, JsonProcessingException {
		String json = new JSONObject().put("instance", "test123").put("version", 12345678L)
				.put("timestamp", 1587751031.000000000).put("type", "INFO_CHANGED")
				.put("info", new JSONObject().put("build", new JSONObject().put("version", "1.0.0")).put("foo", "bar"))
				.toString();

		InstanceInfoChangedEvent event = objectMapper.readValue(json, InstanceInfoChangedEvent.class);
		assertThat(event).isNotNull();
		assertThat(event.getInstance()).isEqualTo(InstanceId.of("test123"));
		assertThat(event.getVersion()).isEqualTo(12345678L);
		assertThat(event.getTimestamp()).isEqualTo(Instant.ofEpochSecond(1587751031).truncatedTo(ChronoUnit.SECONDS));

		Info info = event.getInfo();
		assertThat(info).isNotNull();
		assertThat(info.getValues()).containsOnly(entry("build", Collections.singletonMap("version", "1.0.0")),
				entry("foo", "bar"));
	}

	@Test
	public void verifyDeserializeWithOnlyRequiredProperties() throws JSONException, JsonProcessingException {
		String json = new JSONObject().put("instance", "test123").put("timestamp", 1587751031.000000000)
				.put("type", "INFO_CHANGED").toString();

		InstanceInfoChangedEvent event = objectMapper.readValue(json, InstanceInfoChangedEvent.class);
		assertThat(event).isNotNull();
		assertThat(event.getInstance()).isEqualTo(InstanceId.of("test123"));
		assertThat(event.getVersion()).isEqualTo(0L);
		assertThat(event.getTimestamp()).isEqualTo(Instant.ofEpochSecond(1587751031).truncatedTo(ChronoUnit.SECONDS));
		assertThat(event.getInfo()).isNull();
	}

	@Test
	public void verifyDeserializeWithEmptyInfo() throws JSONException, JsonProcessingException {
		String json = new JSONObject().put("instance", "test123").put("version", 12345678L)
				.put("timestamp", 1587751031.000000000).put("type", "INFO_CHANGED").put("info", new JSONObject())
				.toString();

		InstanceInfoChangedEvent event = objectMapper.readValue(json, InstanceInfoChangedEvent.class);
		assertThat(event).isNotNull();
		assertThat(event.getInstance()).isEqualTo(InstanceId.of("test123"));
		assertThat(event.getVersion()).isEqualTo(12345678L);
		assertThat(event.getTimestamp()).isEqualTo(Instant.ofEpochSecond(1587751031).truncatedTo(ChronoUnit.SECONDS));

		Info info = event.getInfo();
		assertThat(info).isNotNull();
		assertThat(info.getValues()).isEmpty();
	}

	@Test
	public void verifySerialize() throws IOException {
		InstanceId id = InstanceId.of("test123");
		Instant timestamp = Instant.ofEpochSecond(1587751031).truncatedTo(ChronoUnit.SECONDS);
		Map<String, Object> data = new HashMap<>();
		data.put("build", Collections.singletonMap("version", "1.0.0"));
		data.put("foo", "bar");
		InstanceInfoChangedEvent event = new InstanceInfoChangedEvent(id, 12345678L, timestamp, Info.from(data));

		JsonContent<InstanceInfoChangedEvent> jsonContent = jsonTester.write(event);
		assertThat(jsonContent).extractingJsonPathStringValue("$.instance").isEqualTo("test123");
		assertThat(jsonContent).extractingJsonPathNumberValue("$.version").isEqualTo(12345678);
		assertThat(jsonContent).extractingJsonPathNumberValue("$.timestamp").isEqualTo(1587751031.000000000);
		assertThat(jsonContent).extractingJsonPathStringValue("$.type").isEqualTo("INFO_CHANGED");
		assertThat(jsonContent).extractingJsonPathMapValue("$.info").containsOnlyKeys("build", "foo");

		assertThat(jsonContent).extractingJsonPathStringValue("$.info['build'].['version']").isEqualTo("1.0.0");
		assertThat(jsonContent).extractingJsonPathStringValue("$.info['foo']").isEqualTo("bar");
	}

	@Test
	public void verifySerializeWithOnlyRequiredProperties() throws IOException {
		InstanceId id = InstanceId.of("test123");
		Instant timestamp = Instant.ofEpochSecond(1587751031).truncatedTo(ChronoUnit.SECONDS);
		InstanceInfoChangedEvent event = new InstanceInfoChangedEvent(id, 0L, timestamp, null);

		JsonContent<InstanceInfoChangedEvent> jsonContent = jsonTester.write(event);
		assertThat(jsonContent).extractingJsonPathStringValue("$.instance").isEqualTo("test123");
		assertThat(jsonContent).extractingJsonPathNumberValue("$.version").isEqualTo(0);
		assertThat(jsonContent).extractingJsonPathNumberValue("$.timestamp").isEqualTo(1587751031.000000000);
		assertThat(jsonContent).extractingJsonPathStringValue("$.type").isEqualTo("INFO_CHANGED");
		assertThat(jsonContent).extractingJsonPathMapValue("$.info").isNull();
	}

	@Test
	public void verifySerializeWithEmptyInfo() throws IOException {
		InstanceId id = InstanceId.of("test123");
		Instant timestamp = Instant.ofEpochSecond(1587751031).truncatedTo(ChronoUnit.SECONDS);
		InstanceInfoChangedEvent event = new InstanceInfoChangedEvent(id, 12345678L, timestamp,
				Info.from(Collections.emptyMap()));

		JsonContent<InstanceInfoChangedEvent> jsonContent = jsonTester.write(event);
		assertThat(jsonContent).extractingJsonPathStringValue("$.instance").isEqualTo("test123");
		assertThat(jsonContent).extractingJsonPathNumberValue("$.version").isEqualTo(12345678);
		assertThat(jsonContent).extractingJsonPathNumberValue("$.timestamp").isEqualTo(1587751031.000000000);
		assertThat(jsonContent).extractingJsonPathStringValue("$.type").isEqualTo("INFO_CHANGED");
		assertThat(jsonContent).extractingJsonPathMapValue("$.info").isEmpty();
	}

}

redpajama_set_name: RedPajamaGithub


text:
Simon Corby named executive director of Mount Nittany Health Foundation
Simon Corby, executive director, Mount Nittany Health Foundation
Mount Nittany Health is pleased to announce that Simon Corby has been named executive director of Mount Nittany Health Foundation.
"We are pleased to welcome Simon to Mount Nittany Health," says Kathleen Rhine, president and CEO of the health system. "Simon's role as executive director of the Mount Nittany Health Foundation is critical to engaging our community in meeting the changing healthcare needs of those we serve."
Corby earned his bachelor's degree with first-class honors from the University of Lincoln in Hull, England, and his Master of Arts from Bucknell University in Lewisburg, Pennsylvania. Most recently, Corby served for four years as director of development and alumni relations for The Pennsylvania State University College of Education, where he raised more than $15 million in new commitments for the college. During his total 15-year tenure at Penn State, Corby served as strategic counsel to senior academic leaders, deans, vice presidents and development colleagues. In 2016, he was recognized with the Patrick Scholl Mentor Award for his leadership.
"My family members and I have all benefited from Mount Nittany Health over the years," says Corby. "As a patient, a community member and a fundraising professional, I see this role as a way to make a positive contribution to the place I have chosen to make my home."
Outside of the office, Corby serves as a volunteer firefighter with the Boalsburg Fire Company.
"Philanthropy is a helping profession that not only benefits the recipient, but also has a direct impact on the donor," says Corby. "It is my honor to work with donors to best achieve their philanthropic goals."
To learn more about Mount Nittany Health Foundation, visit foundation.mountnittany.org.
Mount Nittany Medical Center cardiovascular pavilion opens doors
Random acts of kindness at Mount Nittany Medical Center: How a group of strangers paid it forward to the youngest among us
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