text:
Trump has put the generals in charge with predictable consequences
UN war crimes investigators accused the US and allied Kurdish-dominated DemocraticForces of being responsible for a 'staggering loss of civilian life' in the battle for Raqqa
A woman holds her injured child at a camp for people displaced from fighting in the Islamic State stronghold of Raqqa, in Ain Issa, Syria June 14, 2017. REUTERS/Goran Tomasevic
Wed Jun 28 2017 - 00:06
By granting free rein to the Pentagon and commanders in Syria, Iraq and Afghanistan, US commander-in-chief Donald Trump has ceded civilian control over his generals, stoking military escalations in all three theatres of war.
As a teenager, Trump attended a military academy which, he boasted, provided him with "more training militarily than a lot of guys that go into the military," but, when called upon to perform, he may well have found he does not know enough about soldiering to command.
Even before handing over, Trump had allowed US involvement in these wars to deepen through the deployment of increasing numbers of boots-on-the-ground. By contrast Trump's predecessor Barack Obama, who sought to run-down US military entanglements, kept a tight rein on the Pentagon.
In April, Trump briefly enjoyed playing commander-in-chief. On the first occasion, over a dessert of chocolate cake with visiting Chinese leader Xi Jinping, Trump ordered a cruise missile strike on a Syrian air base near the city of Homs. The strike was intended to respond to a gas attack blamed on Syrian aircraft on a town in al-Qaeda-held Idlib province. A week later, Trump ordered the largest non-nuclear device in the Us arsenal, the "mother of all bombs," to be dropped on an Islamic State site in eastern Afghanistan. Both actions were said to be "one offs" but were followed by escalation.
The loosening of constraints on the military coincided with intensification of the US-led air campaign in support of US-allied ground forces fighting Islamic state. Air strikes have killed of hundreds of civilians in Mosul in Iraq and Raqqa in Syria.
US bombs slew more than 100 people in a single strike in Mosul in March and up to 80 civilians last month in the Zinjili district of the city. These were not isolated incidents. UN high commissioner for human rights Zeid bin Ra'ad al-Hussein called on the US-led coalition to "ensure that their operations comply fully with international humani- tarian law and that all possible measures are taken to avoid the loss of civilian lives."
UN war crimes investigators accused the US and allied Kurdish-dominated DemocraticForces of being responsible for a "staggering loss of civilian life" in the battle for Raqqa and for the flight of at least 160,000 civilians. Human Rights Watch condemned the US introduction into the Syrian conflict of white phosphorus, banned under international law except outside populated areas against concentrations of troops and tanks. The Inter-national Committee of the Red Cross urged those striking urban targets to choose carefully and strike with precision weapons as 70 per cent of all civilian deaths in Syria and Iraq have occurred in Cities.
In its report on the first 1,000 days of US-coalition action, the Syrian Network for Human Rights said 1,256 civilians were killed in the Syrian campaign against Islamic State. On June 18th UK-based Airwars, which monitors US-coalition strikes, put the death toll at 3,962 in Syria and Iraq since the air campaign began in August 2014. These figures are many times greater that official US tolls.
"Mission creep," justified by alleged challenges from pro-Syrian government forces, is also taking place. After conducting air strikes against Damascus-allied militias in the area in early June, the US deployed troops and truck-mounted missile launchers at al-Tanf base in Syria, placing Damascus within range of these weapons. The US has also shot down two Iranian drones, claiming they were threatening US allies, but stoking tensions.
Although Washington has said, repeatedly, its only goal in Syria is to defeat Islamic State, the occupation of Raqqa and northeaster Syria by US-supported Democratic Forces and al- Tanf base could establish US zones of control once the battle against the radicals has ended.
This strategy would challenge the presence in Syria of Russia and Iran, Damascus main allies. Last Sunday's downing near Raqqa of a Syrian bomber by a US fighter jet prompted Russia to warn US and allied aircraft may be targeted while in Syrian airspace west of the Euphrates River. Shooting down aircraft would pit Trump's assertive generals against Russian and Iranian counterparts.
Once Islamic State is defeated, the Pentagon intends to maintain a strong troop presence in Iraq. Defence secretary James Mattis has announced the dispatch of 4,000 troops to Afghanistan to reinforce 8,400 already officially there and 2,000 unofficially deployed. More could follow as no ceiling has been set.
A former Marine Corps general and head of Central Command responsible for US opera-tions in the Middle East, Mattis, known as "Mad Dog," has advised troops, "Be polite, be professional, but have a plan to kill everybody you meet." Trump has, so far, failed to check Mattis' escalations. Putting military men in charge is reckless. They not only ignore civilian deaths but also rely on military force to resolve all manner of problems.
Michael Jansen is based in Cyprus and writes on the Middle East for the The Irish Times
CROSSDemocratic ForcesInter National CommitteeMarine CorpsUnTrump presidencyBarack ObamaDonald TrumpJames Mattis
Positive movement on protocol a tough sell to unionists who know desperate DUP spin is coming
Finn McRedmond: When did we begin to become such puritans?
Trinity College library: 'Man of his times' argument does not get Berkeley off hook


This entry was posted on Mar 22 2017 at 17:12 by thewritebeat and is filed under About the Author.
Right on, Ruth. Excellent article....what is the old saying...Judge not lest you be judged". Biblical or not, all humans desire respect and fair treatment even though each was created as an individual. Be kind and carry on!!
With all the political junk out there today, I was feeling saturated. This writing is a breath of fresh air - it contains common sense and shows a desire to just live and let live. We all need to stop labeling and judging others. This was the best thing I have read in years!!
Lots and lots of good material in this dissertation! Yes; and I think you could go on and on - why not?Why not turn this into a book? We all need to ponder these uprisings more deliberately, to understand each persons position. We do need to take a stand from time to time regarding things harmful to our happiness and very existence. We are all human but individual just the same!
Personally; my life's agenda was to becoming something; something others would recognize and appreciate. It took forever to understand that being myself was all I needed to be successful. In fact it is our differences that make us essential to the whole once acceptance is uncovered.
"I cannot understand you until I've truly been you, and I cannot be anything other than who I am." That has always summed it up for me. Thanks for writing this, you've outdone yourself yet again! I label myself as human and really, that's all that should matter. It also doesn't make me any better than a non-human, just a different species.
Janet, Elly, Joy, and Judy: I truly appreciate your encouragement, and I'm glad to hear this was well received. It wasn't easy to write. I'm not wanting to offend, but neither am I wanting to continue to keep quiet.


text:
Q: Getting solution for switch proxy or token if its dead/error with it import asyncio
import re
import discord
import aiohttp
token = "token"
auth = aiohttp.BasicAuth(login='log', password='pass', encoding='utf-8')
intents = discord.Intents.all()
intents.members = True
intents.reactions = True

bot = discord.Client(intents=intents,proxy="http://prox",proxy_auth=auth)

servers_message_id = {1: 2}

@bot.event
async def on_ready():
    print(f'User-Bot {bot.user.name}: ready!')
    for guild in bot.guilds:
        print(guild)

@bot.event
async def on_raw_reaction_add(payload):
    if payload.message_id == 1:
        user_id = bot.get_user(payload.member.id)
        await asyncio.sleep(180)
        await user_id.send("hello")

bot.run(token, bot=False)

How can i use construction 'try except' to catch proxy/token errors? And if any problem occur – switch to next one proxy/token?
The task is: i have a list of tokens:proxies.  I am starting with the first one pair,once proxy/token dead switch to next one, how to implement it?
Im thinking about making a list of proxies and tokens. But how can i catch and mostly important - switch to next pair proxy/token

redpajama_set_name: RedPajamaStackExchange


Looking for a convenient gaming mouse that covers all the basic functionalities, but also has a powerful design? With its ambidextrous design, 6 responsive buttons and illuminated design the GXT 105 gaming mouse will deliver. The GXT 105 is made for comfort and maximum fit, it doesn't matter if you are right handed or left handed; you can always use the GXT 105. Therefore it is a perfect mouse when you need to share your gaming mouse with your family or friends who use a different dominant hand to control the mouse.


The Steel Helmet—a 1951, low-budget film by Samuel Fuller—features one of the first popular culture references to Japanese American incarceration. In this post, Densho Content Director Brian Niiya presents a film history and analysis.
I've been a big fan of the acclaimed B-movie director Samuel Fuller since seeing his 1960s films Shock Corridor and The Naked Kiss many years ago. I became an even bigger fan after seeing his remarkable The Crimson Kimono (1959), a murder mystery/love story starring James Shigeta as an LA cop and set in Little Tokyo during Nisei Week. His movies tackle provocative themes and often feature interracial casts; as B-movies, they also follow genre conventions in being fast moving, action packed and sometimes crass and exploitative as well. They are never dull.
He was also something of an Asia-phile with no less than four of his movies either set in Asia or Asian America. Besides Crimson Kimono, there was House of Bamboo (1955), set in occupied Japan and starring "Shirley Yamaguchi" (aka Ri Koran and Yoshiko Otaka); China Gate (1957), the first Hollywood film set in Vietnam; and the subject of this essay, The Steel Helmet (1951), the first Hollywood film to depict the Korean War.
Samuel Fuller was born in Worcester, Massachusetts in 1912 and moved to New York with his family after his father died when he was eleven. As a young teenager, he began to sell newspapers, which led to his becoming a copy boy, then a crime reporter for the New York Evening Graphic, a notorious scandal sheet, at age 17. Intrigued by California, he headed west in the mid 1930s and eventually broke into Hollywood ghostwriting screenplays for established screenwriters. After serving in World War II—including landing on Omaha Beach on D-Day—he established himself as a screenwriter in Hollywood under his own name. Independent producer Robert Lippert gave him a chance to direct his own screenplays in 1948, beginning with I Shot Jesse James.
The Steel Helmet was his third movie for Lippert and proved to be a turning point for his career. As with his other early movies, it was shot quickly and on a low budget, with Griffith Park in Los Angeles standing in for Korea. Filmed over the course of ten days in October of 1950, the movie's budget was just $104,000.
The movie centers on a grizzled World War II veteran named Zack, played by newcomer Gene Evans. As the movie begins, he is the lone survivor when his platoon is slaughtered by the enemy; shot in the head, the bullet pierced his helmet but rattled around inside, leaving him unharmed. He is discovered and unbound by a South Korean orphan boy (William Chun) of around twelve who follows him despite Zack's discouragement. The pair come across another lone soldier, an African American medic, before coming across a lost unit assigned to set up a surveillance post in a Buddhist temple. The group eventually finds the temple and a lone North Korean soldier is discovered in it after he kills one of the Americans. When the boy—whom Zack and men become attached to despite themselves—is shot by an attacker, the captured soldier—now a potentially valuable POW—makes a sarcastic remark about a note the boy had written wishing he could get Zack to like him. Zack impetuously shoots and kills the prisoner. The soldiers subsequently repel an enemy attack, though only four survive.
Two are racial minorities: Corporal Thompson, the African American medic played by James Edwards, and Sergeant Tanaka, a Nisei character played by Richard Loo. (Loo, a Chinese American actor born in Maui, was best known for playing Japanese enemy figures in movies during and about World War II and had a role in the infamous Little Tokyo U.S.A.) Both are portrayed as exceedingly competent and cool under fire in contrast to many of the other men. As a seasoned World War II vet like Zack, Tanaka stoically repels a sniper attack while the other men run for cover. Later, when a cowardly lieutenant accidentally pulls the pin from a grenade and panics, Tanaka cooly resets it.
POW: You got the same kind of eyes I have.
Tanaka: I heard you. So what?
POW: They hate us because of our eyes.
Tanaka: Major—you got a long hike ahead of you in the morning. You better get some shut eye.
POW: Doesn't it make you feel like a traitor?
Tanaka: For a little guy with a lot of combat time, major, you surprise me. Don't you guys know when you're licked?
POW: I surprise you? They threw Japanese Americans into prison camps during the last war, didn't they? Perhaps even your parents. Perhaps even you.
Tanaka: (pause) You rang the bell that time. They did.
POW: (smile) And some of you had to pass for Filipinos to get a job. I know.
Tanaka: Major, you're getting sloppy as a con artist.
POW: Con? What is con?
POW: Jaa, you Niseis are incredible. You make no sense.
Tanaka: If I wasn't in the army and you weren't a POW, I'd…. ahh, in our country we have rules, even about war.
POW: (chuckles): Were you one of those idiots who fought in Europe for "your" country?
Tanaka: 442nd Combat Team. And you know what? Over 3,000 of us idiots got the Purple Heart. You can't figure that out, major, can you?
POW: No. That's what I don't understand. They call you dirty Jap rats and yet you fight for them. Why?
Tanaka: I've got some hot infantry news for you: I'm not a dirty Jap rat, I'm an American, and if we get pushed around back home, well that's our business. But we don't like it when we get pushed around by… ah, knock off before I forget the articles of war and slap those rabbit teeth of yours out one at a time.
This is likely the first disapproving mention of Japanese American incarceration in a mainstream movie and comes in the context of the rapidly changing mainstream portrayal of Japanese Americans that took place in the decade after the end of World War II. The Steel Helmet wouldn't even be the only mainstream movie released that year to portray Japanese Americans in a positive light: just a few months later, Go for Broke!, which centers on the exploits of the 442nd Regimental Combat Team, would be released.
There are many reasons for the rapidly changing view of Japanese Americans during this time period, but the setting of The Steel Helmet highlights one of the main ones: the Cold War/anti-Communist tenor of the times. In the battle for the hearts and minds of the Third World, racial discrimination undermined the Western cause. The patriotic war veteran Fuller portrayed an American military united across racial lines that comes together to achieve their mission. But unlike many others, he is also willing to point out the racism that still infected American society, explicitly and literally illustrating how it could be used by the enemy to criticize the American way and maybe even to disrupt American unity.
The film opened on January 11, 1951 and there were two somewhat unexpected outcomes. One is that some observers—most notably the anti-Communist New York Daily Mirror columnist Victor Riesel—accused the film and the proudly patriotic Fuller of promoting Communism. In interviews and in his autobiography, Fuller recounts being called to the Pentagon and grilled over the content of his film. The key objections were that the soldiers were not portrayed in a heroic fashion—many were portrayed as cowardly or incompetent—that the main character shoots the POW and goes unpunished for doing so, and that U.S. racial discrimination is criticized. The other is that the low budget film was a substantial financial success. Because Fuller worked for a share of the profits, the film ended up making him a wealthy man (in his autobiography, he reports clearing $2 million after taxes), which no doubt contributed to his ability to keep making idiosyncratic and personal films for the next two decades.
As for Sergeant Tanaka, we know he survives the movie, but we don't know much else about him or his background—we don't even know his first name—except that he or his family went to camp and that he presumably served in the 442nd. But we can credit him with being one of the first to expose America's concentration camps and the exploits of Nisei soldiers to movie audiences, and for that, he should be remembered.


text:
Георгий Викторович Острецов (8 мая 1967, Москва) — российский  и , активный участник московской художественной жизни с середины 1980-х годов. В начале своей карьеры работал над созданием костюмов, в которых сочетались приемы конструктивизма и агитпропаганды 1920-х с эстетикой нью-вейва, объединяя моду и перформанс.

Творчество
«Не спрашивай себя в какой стране мы живем и какое правительство мы имеем, потому что это совсем другой жанр, художник издевательски говорит о торжестве и свете нового мира, существующего одновременно с нами и вокруг нас. Что это за новый мир? Это мир "Нового правительства" (НП) — мир серьёзной персонажей игры, пластического эксперимента, социальной провокации и самый масштабный и долгий художественно-политический проект после Советского Союза (если воспринимать государство, построенное на утопических основаниях, как арт-проект).»

«Художественная стратегия Георгия Острецова следует в русле постструктуралистского тезиса Мишеля Фуко, согласно которому субъективность производится властью, что оставляет субъекту единственную возможность осуществлять практики сопротивления-а именно, пародировать механизмы власти в акте перфомативного действия.»

В своих работах Острецов обращается к эстетике комикса. Он создает авторскую иконографию в духе мейнстримовского комикса. При этом, в отличие от американских художников Энди Уорхола и Роя Лихтенштейна, Острецов не копирует чужие иллюстрации, а разрабатывает свою графическую историю, близкую комиксам в стиле action.

Биография
Георгий (Гоша) Острецов родился в 1967 году в Москве в семье искусствоведа Людмилы Острецовой и художника Элгуджи Амашукели

В 1981—1985 годах учился в Театральном художественно-техническом училище при Большом театре. В 1984 году стал членом группы «Детский сад» вместе с художниками Георгием Литичевским, Андреем Ройтером, Германом Виноградовым и Николаем Филатовым, а в 1985 вошёл и в ленинградское объединение «Новые художники» (Тимур Новиков, Олег Котельников, Сергей Бугаев, Иван Сотников и другие).

В 1988 году переехал во Францию. Жил в Париже. Работал в моде и рекламе художником. Сотрудничал с Жан-Шарлем де Кастельбажаком и Жан-Полем Готье и участвовал в работе над образами героев фильма Люка Бессона «Такси».

Тогда же начал интересоваться теологией и иконографией, что оказало влияние на все его последующие работы. В 1996 году, разрабатывая проект «Персональный супергерой», познакомился с французским галеристом Эмманюэлем Перротэном, который ввёл его в парижское художественное сообщество.

В 1998 году Гоша Острецов привёз «Персонального супергероя» в Россию для участия во 2-й международной фотобиеннале, и остался работать в Москве. В 1999 году создал крупный проект-антиутопию «Новое правительство», который впервые был выставлен в галерее Марата Гельмана. Идеи и персонажи «Нового правительства» получили развитие во многих других работах художника.

В 2007 году женился на московской художнице Людмиле Константиновой. У них четверо детей.

В 2009 году представлял Россию на 53-й Венецианской биеннале современного искусства.

В 2010 году организовал сообщество художников «Вглаз», в которое входят Георгий Литичевский, Людмила Константинова, Ольга Божко, Дмитрий Булныгин, Ирина Корина, Наталья Стручкова, Иван Тузов, группа «ЕлиКука» и другие. Группа совместно с фондом «Артика» разрабатывает концепцию общественных мастерских. Гоша Острецов работает в жанре инсталляции, иллюстрирующей его вымышленный мир фантастических анти-утопий и включающей в себя живопись, графику, скульптуру, а также художественные тексты и графические романы.

Работы находятся в собраниях
 Государственная Третьяковская галерея, Москва.
 Государственный Русский музей, Санкт-Петербург.
 Московский музей современного искусства РАХ, Москва.
 Музей Арктики и Антарктики, Санкт-Петербург.
 Музей Сновидений им. З. Фрейда, Санкт-Петербург.
 Галерея Saatchi, Лондон.
 Zabludowitz collection.
 Trioche DeLeon collection.
 В частных коллекциях Фредерика Полсена, Лоуренса Граффа, Романа Абрамовича, Симона де Пюри и других.

Избранные персональные выставки
 2016 — «Меня похищали уже сто раз!». Галерея Triangle, Москва.
 2014 — «Автотранс НП». Арт-центр «Заря», Владосток.
 2010 — «Love for electricity». TMproject gallery, Женева.
 2009 — Персональный проект в павильоне России на 53 биеннале современного искусства. Венеция.
 2008 — «Мертвые души». Галерея Триумф, Москва.
 2007 — «Salon Beaute». Rabouan-Moussion gallery, Париж.
 2007 — «Ремонт». Московский Музей Современного Искусства, Москва.
 2000 — «Новое Правительство». Галерея Марата Гельмана, Москва.
 2003 — «Ешь недоумка! Фреска». Государственная Третьяковская Галерея, Москва.
 2000 — «Посетитель». Государственный Русский Музей, Санкт-Петербург.

Избранные групповые выставки
 2015 — Розовый ящик. Музей «Эрарта». Санкт-Петербург.
 2014 — Современный рисунок. Государственный Русский Музей. Санкт-Петербург.
 2014 — Реконструкция-2. Культурный фонд «Екатерина». Москва.
 2012 — Gaiety is the most outstanding feature of the Soviet Union. Saatchi gallery, Лондон.
 2010 — Русский пейзаж. Галерея Марата Гельмана. Москва.
 2009 — VROOM! La Maison Rouge. Париж.
 2008 — Sots Art / Political Art in Russia from 1972 to today. La Maison Rouge. Париж.
 2007 — Соц-Арт. В рамках 2 московской биеннале современного искусства. Государственная Третьяковская Галерея. Москва.
 2005 — Сообщники. В рамках 1 московской биеннале современного искусства. Государственная Третьяковская Галерея. Москва.
 2005 — В процессе. Выставка группы «George&George» Государственный центр современного искусства. Москва.

Примечания

Ссылки
Cтраница художника на сайте Artika Project

Cтраница художника на сайте Vglaz group

Главные теле-интервью художника:

  Георгий Острецов на телеканале «Культура» о месте и роли современного искусства

  «Максимальное приближение»: художник Георгий Острецов на телеканале «Москва 24»

Главные статьи о художнике:

  Saatchi

  The Art Newspaper

  Snob

  The Art Newspaper

  Telegraph

  Harper's Bazar Art

  Artnet

  Gif.ru

Современные художники России

redpajama_set_name: RedPajamaWikipedia


And no, they aren't all salads.
Ever wonder what nutritionists eat when they're craving an easy, healthy, yet super filling meal? We do. That's why we asked our favorite food experts to reveal the meals they whip up when they're pressed for time or stressed to the max, yet craving something hearty and energizing. Here, five nutritionists dish up the breakfast, lunch, and dinner fallbacks they always look forward to. Eat up!
"My favorite meal is a power bowl. I just follow this formula: a simple, cooked whole grain (such as brown rice, quinoa, or farro), veggies (greens, bell peppers, tomatoes, cauliflower), plant protein (chickpeas, pistachios, tofu), and a flavorful sauce (vinaigrette, Thai sauce, tahini dressing).
This is the foundation of a great meal that provides for my nutrient needs, gives me protein for muscle maintenance, fiber to keep me satiated and boost my gut microbiota, and offers lots of phytochemicals for antioxidant and anti-inflammatory action. Plus, it's just so easy."


text:
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	$tmpl->assign('calendar', $option_calendars[$i]);
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";
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		<?php echo $l->t('New Calendar') ?>

<input style="display:none;width: 90%;float: left;" type="text" id="caldav_url" onmouseover="$('#caldav_url').select();" title="<?php echo $l->t("CalDav Link"); ?>">

redpajama_set_name: RedPajamaGithub


text:
Q: Changing forecolor according to backcolor I have created an iframe which contains the label, "powered by MyWebsite.site"
The "iframe itself" accepts arguments, so other webmasters may customize the appearance of it.
The problem is that since the background of the iframe could be customized, anyone can "vanish" the "powered by MyWebsite.site".
So what option do i have? How should i dynamically change the label color depending on any background?

A: Assuming you have access to the background color (in hex; e.g. #ff0000) defined by the webmaster, you should be able to invert the color using an algorithm such as the one that follows. The given algorithm converts the hex color value to RGB. Then it subtracts each component of the RGB value from 255, which yields the inverse. The inverted RGB value is then converted back into a hex color value. Apply the inverted hex color value to the "powered by..." text and you should be all set.
http://www.codingforums.com/archive/index.php/t-47335.html
Note that this calculation can be done directly in hex, but that may be a little more difficult to comprehend (depending on how your mind "thinks" about these things).


~Howard Houlston, Director of Montague Technology Ltd.
"We contracted with Angie and Potentiality to evaluate our current learning and development program with the goal of generating ideas for improvement. Pulling from her vast experience, Angie produced a comprehensive assessment of our current program, and a multitude of ideas for future growth. Throughout the process, Angie reliably delivered more than was asked on every task. I feel that I grew as a professional through the engagement. I would recommend Angie to anyone looking to amplify HR efforts at their organization.
"Angie has brought energy, enthusiasm and a passion for Learning & Development to our community. She brings new ideas, "out of the box" thinking as well as sharing relevant L&D information and knowledge, such as news articles, white papers etc. Angie takes a "sleeves up" approach and happy to chase through ideas and actions to an outcome.


I.) One Regional Team per USDF Region.
II.) Regional Teams will be based on the results (scores earned) from the Regional Championships.
III.) Each Regional Team will consist of three competitors (athlete/horse combinations) per team.
V.) Adult Amateurs may be named to the Regional Team in each of the three categories. However, the Second through Fourth Level Category competitor must be an Adult Amateur. Open riders may be named to the Regional Team only at the Training/First Level and FEI Level categories.
VI.) To be eligible athlete/horse combinations must be entered in the US Dressage Finals by the closing date of the US Dressage Finals.
VII.) The Regional Teams are to be made up of the highest scoring eligible athlete/horse combinations in the Training/First Regional Championship classes and in the FEI Level Regional Championship classes at each of the nine Regional Championships. The highest scoring eligible Adult Amateur (athlete/horse combination) in the Second through Fourth Level Regional Championship classes will be named to the Regional Team. Scores earned in Freestyle classes will not be used to determine the make up of the Regional Teams.
VIII.) In the case of competitors having the same score in one of the three categories (Training-First, Second-Fourth, FEI), the competitor with the score from the highest level (i.e. Grand Prix vs. Prix St. Georges) will be given first option of accepting. If competitors have the same score at the same level, the placing at the regional championship will be used to determine who will be given first option of accepting. If both levels and placings are the same, a coin toss will decide which rider would have the first option of accepting.
IX.) Regional Teams will be named after the US Dressage Finals closing date.
X.) Opting Out: Competitors will be asked to either accept or decline being on a team. In the event a competitor declines, the next highest scoring eligible competitor in the respective category will be named to the Regional Team.
XI.) Naming of Reserve athlete/horse combinations: Reserve athlete/horse combinations will be named to the Regional Teams in each of the three categories. In naming the reserve athlete/horse combinations, the same procedure as described in numbers VI, VII, VIII and IX above will be used for the second highest scoring athlete/horse combination in each of the three categories. Reserve athlete/horse combinations will be substituted only once the athlete/horse combination they would be replacing has withdrawn from the Finals class(es). Reserve athlete/horse combinations may be substituted up to the start of the first US Dressage Finals class of each category.
XII.) The highest final score achieved by each athlete/horse combination in a non-Freestyle US Dressage Finals class at the required level will be used in calculating a Regional Team's results.
XIII.) When an eligible athlete/horse competes in two Finals championships (i.e. Second and Third) in the category that they represent, the higher score will be used in calculating their team results.
XIV.) If a Regional Team has the scores from two athlete/horse combinations, but does not have a third score due to the third athlete/horse combination not being able to compete then the average of the two scores earned will be used as the third score in calculating the final team score. Athlete/horse combinations who compete, but are eliminated will receive a 0 (zero) as a score for the class from which they were eliminated.
XV.) Placing of teams will be determined by averaging the three scores as described above.


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Orchestrated Sex: The Representation of Male and Female Musicians in World-Class Symphony Orchestras
January 26, 2020 /0 Comments/in Other Arts & Related Fields /by dancedata
By Desmond Charles Sergeant and Evangelos Himonides
This study examines the representation of male and female musicians in world-class symphony orchestras. Personnel of 40 orchestras of three regions, the UK, Europe, and the USA, and distributions of men and women across the four orchestral departments, strings, woodwind, brass, and percussion, are compared. Significant differences in representation between orchestras of the three regions are reported. Practices adopted by orchestras when appointing musicians to vacant positions are reviewed and numbers of males and females appointed to rank-and-file and Section Principals are compared. Career patterns of male and female musicians are also compared. Increases in numbers of women appointed to orchestral posts in the last three decades are compared with increases in the proportion of women in the general workforce. The data of orchestral membership are then compared with the numbers of young people receiving tuition on orchestral instruments retrieved from a large national database (n = 391,000 students). Implications for the future of male and female representation in orchestral personnel are then considered.
During the eighteenth and nineteenth centuries, acquisition of musical skills by women was applauded, but social conventions prevailing in Europe and America approved their display in private but not in public. Except for the piano and the voice, women were severely limited in their access to musical training, witness the difficulties suffered by the English composer Ethel Smyth (1858–1944) and by other women (Smyth, 1987; Wood, 1995; Gillett, 2000; Vorachek, 2000; Kertesz and Elizabeth, 2001; Meling, 2016, p. 188). Conventions of respectability and appropriateness regarding feminine manners and appearances and attitudes to the female body decreed that some instruments were "unsightly for women to play, interfering with appreciation of the female face or body" or judged their playing positions to be indecorous (Gillett, 2000; Doubleday, 2008). Female cellists, for example, were obliged to adopt an impractical position sitting alongside the instrument in order to avoid a scandalous indelicacy of placing an instrument between their legs1 (Cowling, 1983; Tick, 1986; Doubleday, 2008, p. 18; Baker, 2013).
As a consequence of these social attitudes, women were excluded from professional music-making, and until the second decade of the twentieth century, membership of professional orchestras was restricted to male musicians (Fasang, 2006). The first appointments of women to tenured positions in a major orchestra in the UK were made by Sir Henry Wood, in 1913, by his engagement of six female violinists to the Queen's Hall Orchestra. The loss of male musicians during the 1914–1918 war brought more women to Henry Wood's orchestra. By the end of that conflict, their number had risen to 18, but acceptance of women was neither universal nor rapid. Early photographs of major orchestras dating from the 1940s show their membership as resolutely male. Examples from the archives of the London Symphony Orchestra, founded in 1904, show no women until 1942, at which date one lady is visible seated among the 2nd violins2,3.
It was not until 1930 that the first woman was appointed to a tenured fully professional post in an American orchestra, when Edna Phillips joined the Philadelphia Orchestra as its harpist4. Ellen Bogoda also made history in 1937 as the first woman brass player to be hired when she was appointed as principal horn player by the Pittsburgh Orchestra (Phelps, 2010, p. 36).
Read the rest of the study on Fronteirsin.org.
https://www.dancedataproject.com/wp-content/uploads/2019/12/Screen-Shot-2019-12-17-at-12.41.18.png 532 1018 dancedata https://www.dancedataproject.com/wp-content/uploads/2019/05/DDP_logo_Primary.png dancedata2020-01-26 16:09:232020-01-28 14:00:07Orchestrated Sex: The Representation of Male and Female Musicians in World-Class Symphony Orchestras
Hyperallergic: Hundreds of Philadelphia Museum of Art Workers Call for Institutional... Broadway News: Protesters rally at 'West Side Story' against Amar Ramasar...

redpajama_set_name: RedPajamaCommonCrawl


The Blake at Taos Ski Valley recently opened its doors to the public. Two weekends ago, a crew from our Vail office headed down to Taos Ski Valley, New Mexico to join in the pre-opening festivities (and hit the slopes). The festivities included live music on the Plaza, tours of the hotel, Taos Pueblo Dancers, and fireworks. See more pictures and learn more about The Blake and its grand opening at taosnews.com!
Thrilled. Absolutely thrilled, gushed Steven Rose, director of hospitality, about the property and what it symbolizes in the resort s revitalization plan.


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Free performance of Robert Munsch's The Paper Bag Princess coming to Winterfest 2020
James Snell / Thompson Citizen
Alissa Watson's stage adaptation of the Robert Munsch book The Paper Bag Princess will be performed for free at Winterfest 2020.
Photograph By Prairie Theatre Exchange
As part of Winterfest 2020 Feb. 21-23 in Thompson, Prairie Theatre Exchange will be presenting Robert Munsch's The Paper Bag Princess, a beloved family story of a princess and a dragon.
Winnipeg playwright Alissa Watson turned the 10-page story into a 50-minute stage production – no small feat – transforming Princess Elizabeth's world and "adding extra adventures on her journey to rescue her fiancé Prince Ronald."
Watson is eager to present the adaptation to a mixed audience that includes grown-ups.
"That's what you'll be seeing in Thompson," she says. "I have expanded on the themes that Robert Munsch had in the book, and tried to make it relevant to our present-day sensibilities of our world and how princesses and princes fit into that. In essence, giving the story a modern influence as it was written 40 years ago. I think adults, especially those who are familiar with the stories, will appreciate the relevance."
Watson got her start in theatre while working as an elementary school teacher.
"I taught primarily music," she said. "And then I'd run a drama club on the side, where we started writing original scripts. And then after a few years I left to become an actor, because I wasn't satisfied just performing during my summer break. About eight years ago I auditioned as an actor for a Munsch show. I got a part there, then did a tour with Prairie Theatre Exchange."
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Simon Albaugh
Detroit Bike Life
Detroit's Bike Scene Has Been Documented Around the World. The Subculture's Complexity Has More to Offer Than Hot-Rod Style
BIKE CULTURE IN DETROIT. VIDEO KATAI
Bike lanes cut against the sidewalks, connecting the farthest reaches of the city to its towering downtown. This is a city with a culture of people proud of their bikes. Hot Rod Glamour begs the question of who's in charge of the roads these days. Go for a ride and see what cycling does for a city like Detroit. Sprawling roadways with intersecting neighborhoods throughout the highways have made safety of little concern.
Biking is at the intersection of Detroit's past and future. A city long-ruled by favoritism to cars moved into the middle of the 20th century with strife and civil unrest. The aftereffect of which removed purchasing power, business ownership, and even the ability to buy cars for what's been hovering around 1 in 4 Detroiters.
Since a quarter of people living in Detroit can't afford to own a car or just don't want to, something different has come from the city's self-reliant mentality. A long timeline of disinvestment in the city brought the need to make getting to work easy. "To make it a cool thing," said '40' Hardaway, leader of one of Detroit's many, now thriving, bike clubs.
Detroit's bike scene has been covered around the world. Bikes have been photographed for British Newspapers, flown into Berlin art galleries, and brought to nationwide bike gatherings in Las Vegas, Nevada – one in particular called "One Big Club." It's captivated people beyond the City of Detroit with lights, streetwise style and strong community elements that are all proof the bike scene is here to stay in the revitalization of Detroit.
DETROIT'S BIKE CULTURE IS JUST DIFFERENT
TWO RIDERS TALKING DURING A WEDNESDAY NIGHT RIDE. PHOTO JOHN BOZICK
A GREEN CUSTOM MADE BIKE IS PARKED BEFORE A WEDNESDAY NIGHT RIDE. PHOTO JOHN BOZICK
BIKES PARKED OUTSIDE MARY'S GRILL ON DETROIT'S WEST SIDE. PHOTO JOHN BOZICK
"We had people who knew how to do things with their hands," Todd Scott, the Executive Director of the Detroit Greenways Coalition, said. "They knew how to make stuff, so we have a maker, DIY culture that's artful."
Scott's organization has been working since 2007 to make Detroit into a city where people can walk and bike easily. By all accounts, the Coalition has made lasting change. Last year, the city introduced protected bike lanes to East Jefferson Avenue, at the behest of the Coalition.
Since his work with the Greenways Coalition, he's become a sort of historian for all things biking in the city. He also runs a blog detailing all there is to know about the history of Detroit on two wheels.
Scott's belief is that a combination of events made Detroit what it is today. Starting with disinvestment, nearly half the city's streetlights weren't working in 2013. "So this made people get clever and start putting lights on their bikes to be seen," Scott said.
Detroit's topography is flat, so the performance of a bike takes a back seat to the style. And style rules.
Supposedly the artful style of customizing bikes was started by a man named KingWayne. After him, bikes took every form and function – including a bike with a working grill welded to the frame by KingWayne himself.
"We said we weren't going to let our bikes look like everybody else's," KingWayne said. Customization is king. "Like the grill bike, it's the only one. We've got a whole bunch of bikes where that's the only one."
THE BIKE CLUBS IN DETROIT
LANE BANGERZ IN DETROIT. PHOTO KATAI
LANE BANGERS RIDING THE STREETS OF DETROIT. PHOTO KATAI
While stories abound about what brought bike clubs to the streets of Detroit, it seems two general ideologies prevail. The first being that biking in massive groups fosters safety. This allowed riders to see more of the city than ever before.
While Detroit was being described as a war zone in the late 2000s, KingWayne was riding huge groups through the entirety of Detroit.
"It happened on my birthday ride," KingWayne said. "We went to the Heidelberg Project and some people were saying they I haven't ever seen it. Others were saying they hadn't been there since they were a kid because they don't hang on the East Side."
The second is that as bike clubs rise, the culture that comes with them does as well. People coming together to ride seems to, for many reasons, bring out the best in everyone. And in massive groups like the Slow Roll, and Soul Roll this is something of an anomaly for the sort of gatherings in Detroit
"It's rare that you can get this many people together and nothing bad happens," Will 'Skillz' Joseph said.
Skillz is a personality in the Detroit bike scene. He leads one of the major initiatives that helped define what everybody calls 'positivity' on the bike rides.
Skillz grabbed on to biking after the death of a friend. When people brought their bikes to the funeral, he decided riding might be what he needed. Now his Unity Tha Movement calls attention to the positivity of riding in a city like Detroit.
'40' says there are around 100 bike clubs in Detroit. It's almost like branding, '40' says. The point is to attract more people for better rides throughout the city. '40' leads the LaneBangerz. East Side Riders is KingWayne's brainchild.
THE BUSINESS BIKING BRINGS
A RIDER ON A CUSTOM GOLD BIKE RIDES OFF AT THE START OF A SLOW ROLL. PHOTO JOHN BOZICK
A RIDER ON A TALL CUSTOM MADE BICYCLE DURING THE SLOW ROLL. PHOTO JOHN BOZICK
THE SLOW ROLL MAKES ITS WAY PAST THE AMBASSADOR BRIDGE. PHOTO JOHN BOZICK
On a recent ride, KingWayne talked about the money that flows around the Slow Rolls and other bike rides. During rides, bike clubs make pits stops into convenience stores to spend money dollars on drinks and snacks. And after it's all done, there's usually a trip to a bar or restaurant.
There's a serious incentive to being friendly for the bikers. KingWayne thinks it's the reason for the police protection from traffic during regularly scheduled Monday Slow Rolls.
But Scott thinks there's more to the economy of biking. "There's this idea that bicyclists and pedestrians are the indicators of a healthy, safe environment. So when you see people out walking and biking, you just assume that it's safe."
When people are outside biking more, they also tend to shop more often at small neighborhood stores, according to Scott. Even Wayne State University has been encouraging students to bike for these reasons.
BIKING IMPROVES A CITY
BIKERS DURING A WEDNESDAY NIGHT RIDE. PHOTO JOHN BOZICK
When massive amounts of people depopulated the city and took a bulk of its tax base with it, Detroit lost much of its governmental services. Once called the "Paris of the Midwest," a thriving metropolis, Detroit is now playing catch-up in a race for the title of the region's world-class city.
Although a network of factors is taking the city into a newly informed arena of development, biking should receive its due credit. It's already brought thousands of people into the area for Monday night Slow Rolls and invited a new generation of people to feel safe in the city.
"It's a great way to introduce a lot of folks to what's going on in the city of Detroit," Scott said. "A lot of folks who have a positive attitude and can aim to now become more healthy."
Even before the Slow Roll started, people were solving the (safety? Community?) problems they saw. When streetlights went out and left some neighborhoods in total darkness, lights became the solution. When people couldn't spare the money to eat at a restaurant after the bike rides, a bike with a welded grill to it fed everyone on the ride.
"And when everybody was done eating, we'd go downtown and feed the homeless until there was no more food to give," KingWayne said.
Some of the most extensive community organizing came out of biking. '40' Hardaway gave away 1,000 bikes to kids in 2018 through the program Free Bikes 4 Kidz. His plan is to put another 3,000 under the feet of Detroit kids this year.
At the center of some of the most prominent bike clubs is giving back to the community. KingWayne is quoted saying he built his custom bikes because he wanted kids to look up to something new in their urban environment. He even gives out swag like East Side Riders t-shirts to anyone that volunteers in the club.
Biking has become a way to work toward sustainable improvements to the city. With a network of bike paths and roads being built for cars and bikes, the city seems to be meeting bike culture in the middle.
But this isn't new. For years, Detroiters have been coming together on their bikes, volunteering for the community, and bringing it all together, their custom bikes in tow. Seems like they've been doing it from the start in the hope of moving the city forward. It looks like it's working.
A very special thanks to Todd Scott of Detroit Greenways Coalition for helping to put this story together.
Simon Albaugh is a Freelance Reporter based in Detroit. He has work published on the Greek Refugee Crisis and asylum seekers fleeing genocide and Israeli-Palestinian relations for various national publications. His Detroit reporting has focused on urban environmental issues and social inequality.


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The Metro Nashville Skatepark (also known as Concrete Wave Country or Two Rivers Skatepark) is a public concrete skatepark located in Nashville, Tennessee, United States. It occupies approximately 22,000 square feet (2,000 m²) in Two Rivers Park adjacent to Nashville's public wave pool, Wave Country. The park is open year-round from dawn until 11 pm, and allows skateboards, in-line skates, and BMX bikes.

The skatepark consists of three different areas of skate terrain that range in size from small street obstacles to a 10 foot (3 m) deep bowl (combi-pool) with pool coping known as the General Jackson in honor of the General Jackson riverboat. The mid-sized flow bowl is known as the Wabash Cannonbowl in honor of the popular Wabash Cannonball rollercoaster ride at Nashville's Opryland USA theme park, which closed in 1997. The street area at the park is known as the Angle Inn, which references the angular nature of most street skating obstacles, along with a historical nod to the Angle Inn attraction at Opryland USA.

The skatepark was constructed in 2004 by the Metro Nashville Parks Department at a cost of $500,000. Wally Hollyday of Wally Hollyday Skateparks was the construction manager and principal designer of the park. Mayor Bill Purcell presided over the skatepark's grand opening ceremony on July 1, 2004, along with numerous local skaters and BMXers.

References

External links
Official website
Skate Tennessee

Skateparks in the United States
Sports venues in Nashville, Tennessee
2004 establishments in Tennessee


Multitask 2 is yet another superior motion recreation during which you must take care of quite a few video games directly. Test your mind's talent to multitask as you play quite a few mini-games on the similar time. Do you imagine you may deal with a number of jobs directly? Have an excellent time!


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Join CORESTA
Cooperation Centre for Scientific Research Relative to Tobacco
Centre de Coopération pour les Recherches Scientifiques Relatives au Tabac
Agronomy & Leaf Integrity
Phytopathology & Genetics
Smoke Science
Recommended Methods
The CORESTA Unit
AERET Blue Mould Info Service
CORESTA Communication
CORESTA in the Press
CORESTA Library
Tobacco Germplasm Collections
Agri-Biotech Dossier
Abstracts/
Determination of alkaloids in tobacco using solid-phase microextraction and GC
CORESTA Meeting, Smoke/Technology, Hamburg, 1997, ST30
YANG S.S.; SMETENA I.
Philip Morris USA, Research Center, Richmond, VA, USA
This work is to evaluate the potential use of solid-phase microextraction (SPME) in the analysis of tobacco components, mainly alkaloids. In SPME, sampling can be done either by taking vapor phase in the headspace of a tobacco sample or by dipping the SPME fiber into an aqueous tobacco extract. Because of the low volatility of alkaloids, sampling from headspace of a dry or a damped tobacco sample requires additional effort to improve extraction efficiency. Thus, extraction of tobacco samples with an aqueous solution is also tested. A SPME fiber coated with polydimethylsiloxane was directly dipped into the tobacco extract, then injected onto a capillary column under split or splitless mode (with 1 or 2 mm i.d. injection liners). When combined with the practice of fast GC, nicotine and a group of selected minor alkaloids ( i.e. , nornicotine, myosmine, anabasine and anatabine) can be separated with baseline resolution within 3 min. In addition, the carry-over problem frequently occurring in alkaloids analysis was eliminated. However, certain limitations in SPME applications need to be addressed. For example; SPME is an equilibrium process and its extraction efficiency is highly dependent upon the partitioning of target compounds between the polymeric phase and the sample matrix. The matrix effect can be compensated by the use of an internal standard, by the addition of individual target compound, or by the use of isotope-labeled internal standards as reported in the literature. In addition, the solvent-free injection of SPME essentially eliminates the refocusing effect of solvent on peak broadening, particularly for those early eluted peaks. Peak broadening and resolution in SPME analysis are also influenced by the mass transfer of target compounds, which is determined by temperature, pH, the agitation of solution, and film thickness of polymer coating on the fiber. The influence of the above factors and the optimization of experimental parameters will be discussed.
Presentations are being uploaded progressively onto the website.
YANG S.S. SMETENA I.
Organisation countries
CORESTA Smoke-Techno Meeting
© 2021 CORESTA


The symbols and motifs you discover in your reading will lead to the understanding of an overall theme of your book. What do those colors symbolize? There are perfumes that are fresh like children's flesh, sweet like oboes, green like meadows — And others, corrupt, rich, and triumphant, having the expansiveness of infinite things, like amber, musc, benzoin, and incense, which sing of the raptures of the soul and senses. This house is detached, alone, and empty, already setting the tone of the story and… 2 pages 589 words Essay 0 Bibliography Sources … Symbolism in Daisy Miller Daisy Miller is a novella that is replete with symbolism. What does a lily stand for? Symbols should be introduced and reoccur at climactic points in the novel. She is petulant, and bossy, but the prince loves her because she is his rose.
Sometimes, symbols are far more subtle, and not as immediately obvious. The style was largely inaugurated by 's article The Ancient Debate 1884 and 's book On the Causes of the Decline and on the New Trends in Contemporary Russian Literature 1892. Common symbols are usually implied. One clear symbol is that of a snake to represent evil. We sew, sew, prick our fingers, dull our sight, Producing what? Symbolism is also a key part of poetry with many poets using symbols to express emotions like love, grief, death, anger, jealousy, etc. Both writers promoted extreme and the act of creation.
Symbolism is used so as to give meaning to the literary work, that goes beyond what is evident to the reader. Most readers, if not all, will miss it. We should caution that Melville did not base the monomaniacal character of Ahab on Pollard himself. This means that theground wassmoother. The Salon hosted a series of six presentations of avant-garde art, writing and music during the 1890s, to give a presentation space for artists embracing spiritualism, mysticism, and idealism in their work.
The Scarlet Letter by Nathaniel Hawthorne Nathaniel Hawthorne named his novel The Scarlet Letter after the central symbol of the book. One of Symbolism's most colourful promoters in Paris was art and literary critic and , who established the. Sometimes, literary symbols are only pertinent within their context, but often, literary symbols are meant to be interpreted as representations of people, ideas, or other entities in. A short story is intended to be read in a single setting. If so, what is your feeling about this type of inference? The serpent in this story represents wickedness and the apple is a symbol for knowledge. When you read a book, you might notice recurring themes within the text, which usually influence the storyline and provide clues into the plot or occurring.
Colors have been used in stories since as early as the first story was told. I'm in de middle takin' all de worst punches from bot? It just takes some basic familiarity, and some good guidance to get you started. From the word symbol came the concept of symbolism where one object is used to refer to something else. Similarly, the action of someone smiling at you may stand as a symbol of the feeling of affection which that person has for you. In 1892, wrote the short novel , set in the Flemish town of , which Rodenbach described as a dying, medieval city of mourning and quiet contemplation: in a typically symbolist juxtaposition, the dead city contrasts with the diabolical re-awakening of sexual desire. In the story, a group of school aged boys are marooned on an uninhabited island, and left to fend for themselves.
This symbol was created in 1912, and the six colors—the blue, green, black, yellow, and red rings on a white background—were meant to be a combination of all of the colors on the flags of the participating countries at the time. Symbols and the Physical World Symbolism can represent something that is happening in the physical world. It gives nuance to a story. The rose symbolizes something that is beautiful, but also very delicate, requiring great care. Joyce's Critics: Transitions in Reading and Culture. What Are Some Examples of Obvious Symbolism in Literature? Where does the red fern grow? A pair of slippers, sir, To put on when you're weary. As she explains in this with a gentleman caller named Jim, her favorite of the animals is the unicorn.
The Imagist Poem, Modern Poetry in Miniature Story Line Press, 1963, expanded 2001. It is closely related to a theme but is more of a supporting role to the theme than a theme itself. There are 3 types of symbols. Red is known to trigger and enhance appetite and metabolism, raise the rate of respiration and also increase blood pressure. He is consumed with fear and horror. .
What would happen if someone took them, and refused to let anyone else have them? There are a number of different ways a symbol might appear in a piece of literature, suggesting an array of different meanings. Common Examples of Symbolism We use symbols all the time in everyday life. The character of Laura is a very fragile and unique girl. In the Harry Potter series, the main character was given a scar on his forehead when an evil wizard harmed him as a baby. Choose the correct symbolism definition when used as a literary device: A. Examples Symbolism need not necessarily have to be symbols that are easily recognizable, or ones that are commonly used. Following an extensive text-focused discussion of what the symbol indicates in the context of the text, it may be appropriate for the writer to suggest what the symbol indicates outside the context of the text, i.


By Carol Terracina Hartman, Ph.D.
Before everything gets archived and stowed away for the summer months, here are a few final tasks to add to the end-of-year items: nominate that Outstanding Adviser for CMA Award of Distinction, due May 1, and submit entries for Pinnacle Awards, due June 1.
College Media Association honors the contributions of advisers in a variety of capacities, including those at two-year newspapers, four-year newspapers, those who have advised less than five years (Honor Roll Adviser) and those with more than five years (Distinguished Adviser Award), and more.
The guidelines and complete the application form are found on the "Adviser Awards" link.
And as the newspaper offices get tidied up and desks are cleared of clutter, remember to peruse those outstanding newspaper editions and brilliant "captured" photographic moments and prepare your Pinnacle Award entries. Any student work produced during the academic year (June 1, 2017 to May 31, 2018) is eligible for submission.
Follow this link to submit individual contest entries. All entries, except yearbook, must be submitted electronically.
Organizations – media outlets – also are eligible for annual awards, including Best TV Station, Best Radio Station; Best Website; Best Feature / Literary Magazine; Best Newspaper; Best Yearbook; Best News Outlet. An organization can enter free of charge as long the adviser is an active CMA member.
For more information and to enter the Organizational Pinnacles, follow this link.


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ACCESSIBILITY ACT: A Binding Legislation is the Only Effective Option
Copenhagen, 4th March 2012 /// The leaders of the European Disability Forum gathered on the 3rd and 4th of March in the capital of Denmark for their board Presidency Conference on Accessibility and Inclusion where the disability movement presented how the EU has to improve accessibility for 80 million citizens with disabilities.
18% of the population in Europe remains unable to enjoy their full right for mobility, which prevents persons with disabilities access to studies, to work, and more generally to full integration in society. The leaders of the disability movement have focused on five crucial issues where the EU institutions can bring a major change:
The access to the internal market through the European Accessibility Act,
The EU legislation for accessibility of websites
The anti-discrimination directive
The integration of disability in the EU Multiannual Financial Framework 2014-2020
The alarming effects of the economic crisis
1 Upcoming European Accessibility Act is a key milestone
The President of the European Disability Forum Yannis Vardakastanis stressed that "No goods and services should be allowed on the EU internal market unless they are accessible for persons with disabilities. We call on the European Commission to come forward with a strong proposal for legislation on accessibility before the end of 2012". For EDF, to be effective this Act should have:
A scope as broad as possible
a clear and extensive definition of accessibility covering all aspects and domains including among others e-services, safety even in case of emergency, and mentioning the need for interoperability and affordability of accessible goods and services.
a clear reference to the relationship between accessibility, sustainability and quality of life during the whole life circle cycle
basic accessibility requirements for goods and services in the frame of Universal Design's approach.
Hosting the event, the chair of Disabled People Organisation Denmark, Stig Langvad reminded: "Lack of accessibility will not reduce costs. On the contrary, it will bring more costs to member states. This is why the crisis cannot be the excuse for lack of action. The organisations of persons with disabilities should be fully involved in the shaping of the act as well as during the monitoring and evaluation phases of its application".
2 Accessibility of public websites
Under the Digital Agenda, the European Commission for Europe committed to produce legislative proposal on accessibility of publicly-related websites. It is now time to act and the European Commission must propose binding EU legislation ensuring that public websites and websites delivering basic services of public interest are made accessible as soon as possible and no later than 2015. A web-accessibility legislation giving the focus on access to content is complementary to a binding Accessibility Act which targets accessibility of goods and services. EDF believes both are necessary.
3 The anti-discrimination directive
The disability movement urges the members states to go ahead with the anti-discrimination directive and make sure persons with disabilities and other groups have the same rights as any other European citizens.
4 The integration of disability in the Multiannual Financial Framework 2014-2020
The MFF is one of the indispensable tools to promote equal opportunities and accessibility for persons with disabilities for the next decade. EDF board members have adopted a resolution to ensure the inclusion of the rights of persons with disabilities in the MFF being in process of negotiation this year.
The disability movement wants to add a new article to mainstream disability. This new article would cover all issues that the European Commission has to mainstream and should include the rights of persons with disabilities and in particular the CRPD. This resolution also calls to include accessibility for persons with disabilities as a condition in the legislative proposal for the MFF in order to ensure that all EU financial instruments won't create more barriers for people with disabilities in Europe. This proposition also covers all the European Union external action instruments. The promotion of Human Rights and the inclusion of 1 billion persons with disabilities worldwide has no borders.
5 "We won't pay for the economic crisis"
The EDF calls on the European institutions and all the Governments of Europe to ensure that the rights of persons with disabilities are not undermined by the current responses to the economic crisis. EDF President Yannis Vardakastanis stated: "Right now, persons with disabilities are struggling to keep their salary, their pension and their social benefits. Although we have been ensured by the European institutions that persons with disabilities would not pay for the crisis, extremely negative effects of the austerity measures are being reported. This is unacceptable: 80 million European with disabilities don't want to pay for the crisis."
Reproduced from http://www.edf-feph.org/Page_Generale.asp?DocID=13855&thebloc=29483
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ND Women's Basketball
Fresh identity, same goal
Mary Green | Thursday, April 2, 2015
Erin Rice
At the beginning of season, Irish head coach Muffet McGraw seemed to slip one particular phrase into every one of her press conferences.
"Take some lumps" — that's how she described her expectations for Notre Dame's upcoming season.
The Irish had advanced to four straight Final Fours, but McGraw wasn't about to book her team's tickets to Tampa, Florida, just yet. There were too many question marks and unsettled areas.
"We're going to take some lumps early, and we're going to have a lot of games that could go either way, and we'll see what happens," McGraw said Nov. 12. "We overachieved last year. This year, I really mean it: We're gonna take some lumps early.
"I mean, we really are young. We're so different from last year. We just don't know what's gonna happen late in a game, when adversity hits, when we get down, when we get in foul trouble, when things start to spiral in the wrong direction."
For one, the starting lineup looked a little different than it had the year before, when the Irish finished the regular season undefeated and suffered their only loss of the year in the national championship game.
"When you lose two first-round draft picks, three starters and a ton of experience, I don't think you go into the season thinking, 'This is our national championship team,'" McGraw said in a teleconference Wednesday.
Wei Lin | The Observer
Michaela Mabrey
Those two first-round picks in last year's WNBA Draft, guard Kayla McBride and forward Natalie Achonwa, averaged a combined 32.5 points and 13.0 rebounds per game in their senior year.
Even more so, they and classmate Ariel Braker represented experience in the starting five — each played significant minutes for the Irish, with McBride (29.4 minutes per game) leading the way, followed by Achonwa (25.4) and Braker (17.0).
The other two starters, junior guard Jewell Loyd and sophomore guard Lindsay Allen, returned, but Loyd, a 2014 second-team AP All-American, was about the only surefire thing on the roster.
Allen's role at point guard during her freshman year centered primarily on handling the ball, dishing it out to teammates and keeping her turnovers down. This year, McGraw said she asked Allen to do more to fill in for the graduated players.
"Coming into the season, we talked to Lindsay and told her she's going to have to score a little bit more," McGraw said Wednesday. "This year, she's got to score more and be more vocal, and she's been able to do that."
Irish coaches then had to fill out the rest of the starting five. They settled on one lineup for the season opener and have stuck to it in nearly every game since: Loyd, Allen, junior guard Michaela Mabrey, sophomore forward Taya Reimer and freshman forward Brianna Turner — with the latter three combining for seven career starts in a Notre Dame uniform.
Jewell Loyd
With such a young and inexperienced group, McGraw questioned her team's toughness in early contests.
But after a sweep of the ACC regular season and tournament titles, the head coach said her expectations had been met.
"I think they've definitely reached that level and then some," McGraw said last Saturday. "I think we've seen that in a lot of games in the ACC. We saw that in our DePaul game up in Chicago, which was shortly after the first loss of the season. So I think they really showed a lot of resilience, but particularly in the posts.
"I think our guards are pretty tough. They've been tough all year long, but I think the post was where we were questioning it, and they definitely have come along and come a long way."
McGraw pointed to two games in particular that served as the season's turning points. The first came against DePaul on Dec. 10, just four days after the Irish had suffered their first defeat of the season at the hands of then-No. 3 Connecticut and a week after they had topped then-No. 15 Maryland — both of which join Notre Dame in the Final Four this weekend, along with South Carolina.
Jodi Lo | The Observer
Brianna Turner
Notre Dame trailed the Blue Demons for most of that matchup in Chicago before forcing overtime and escaping with the 94-93 victory, solidified by two free throws from Loyd with 5.3 seconds left for the tie and the win. The junior scorched the DePaul defense for a career-high 41 points to ensure the Irish didn't fall in a second straight game.
However, Notre Dame did end up falling a second time on the season in the other matchup McGraw called a tipping point. In a 78-63 loss to unranked Miami (Fla.) on Jan. 8, the Irish scrapped together a lackluster performance on both sides of the floor and never seemed to get in a rhythm against the Hurricanes.
"We played about as poorly as we could possibly play," McGraw said Wednesday of the Miami loss. "Worst game of the year — shot about 25 percent from the field and didn't defend, and so many things went wrong in that game. So I think to come back from that debacle and win out the rest of the year, I think that shows that we did get a lot tougher."
Since that point, there has been no looking back for the Irish squad, which is currently riding a 21-game win streak.
Notre Dame cruised through the ACC tournament, with an average margin of victory of nearly 12 points, and has looked just as dominant in the NCAA tournament, in which it has bested No. 16 seed Montana, No. 9 seed DePaul, No. 4 seed Stanford and No. 2 seed Baylor.
Taya Reimer
After the win over Baylor on Sunday to advance to a fifth-straight Final Four, McGraw said she had never experienced a run quite like this one.
"We had to work the hardest to get to this one," she said Sunday. "I thought we lost so much from last year, and we've lost really good players throughout the years, but last year's experience and not having any senior starters, you know, you just didn't know how the season was going to unfold.
"We had so many tough games. I think we played the toughest schedule in the country, so we learned a lot throughout it. I thought they came into practice every day ready to learn, but I still felt we were going to take some lumps at some point, so when we kept on winning, it just really built our confidence."
Now that her team has exceeded its early-season expectations, McGraw said it will keep trying to reach its goals for one final weekend.
"I think we go into the Final Four with an attitude of, we're going to do what we do," she said Wednesday. "We're going to work hard. We have an attitude that we think we can win. At the end, we have four of the best teams in the country. We've had some really close games. We've lost some heartbreakers. We've had some success in the semifinals.
"But I don't think we go in thinking we've got to win this one. We're just going in and playing our game."
So far, playing their game has worked out for the Irish — whether that success was expected or not.
Tags: Brianna Turner, Jewell Loyd, Lindsay Allen, Michaela Mabrey, Muffet McGraw, ND Women's Basketball, Taya Reimer
About Mary Green
Current Assistant Managing Editor, former Sports Editor of The Observer | Follow Mary on Twitter: @maryegreen15
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Without some basic historical knowledge, the subject I am dealing with would not be understood.
In Europe, people had heard about China. In the autumn of 1298, Marco Polo told marvelous tales about an amazing country he called Cathay. Columbus, an intelligent and intrepid sailor, was aware of the Greeks' knowledge about the roundness of the Earth. His own observations led him to coincide with those theories. He came up with the plan of reaching the Far East sailing westward from Europe. But, he calculated the distance with far too much optimism, for it was several times greater. Unexpectedly, between the Atlantic and the Pacific Oceans, this continent loomed up on his route. Magellan would make the journey conceived by him, even though he died before reaching Europe. Still, the voyage was paid with the value of the spices gathered, and the trip begun with several vessels, out of which only one returned, was a prelude of future colossal profits.
Since those days, the world began to change at an accelerated pace. Old forms of exploitation were repeated again, from slavery to feudal serfdom; ancient and new religious beliefs spread over the planet.
Direct trade between Europe and China began in the sixteenth century, after the Portuguese established the commercial enclave at Goa in India and at Macao in southern China.
Spanish control in the Philippines facilitated an accelerated exchange with the great Asian country. The Qing dynasty, which ruled China, tried to limit this kind of unfavorable commercial operation with foreign countries as much as possible. It was allowed only through the port of Canton, today called Guangzhou. Great Britain and Spain had great deficits because of the low demand of the enormous Asiatic country, related to English goods manufactured in the metropolis, or Spanish products coming from the New World which were not essential to China. Both of them had begun to sell opium.
Large-scale opium trade was at first dominated by the Dutch through Jakarta, Indonesia. The English observed the profits that were close to 400 percent. Their opium exports which, in 1730, were 15 tons, grew to 75 in 1773, shipped in crates weighing 70 kilograms each; with this they bought porcelain, silks, spices and Chinese tea. Opium, not gold, was the currency Europe used to acquire Chinese goods.
In the spring of 1830, faced with the unbridled abuse of the opium trade in China, Emperor Daoguang ordered Lin Hse Tsu, an Imperial official, to fight the plague; he ordered the destruction of 20 thousand crates of opium. Lin Hse Tsu sent a letter to Queen Victoria asking for respect of international standards and that she forbid the trade with toxic drugs.
The Opium Wars were the English response. The first of them lasted three years, from 1839 to 1842. The second, with France joining in, lasted four years, from 1856 to 1860. They are also known as the Anglo-Chinese Wars.
Such humiliation contributed to the Taiping Rebellion of 1850 to 1864, the Boxer Rebellion of 1899 to 1901 and, finally, the fall of the Qing Dynasty in 1911 that, for various reasons –including their weakness in the face of foreign powers– had become highly unpopular in China.
This country with its ancient culture and very hard-working ethic, like others in the region, resisted "western civilization" and for more than 200 years –among other causes because of a chaotic domestic administration– it remained hermetically sealed to foreign trade.
In 1854, after an earlier exploratory voyage with four gunboats, a U.S. naval expedition commanded by Commodore Matthew Perry, threatening to bomb a Japanese town – defenseless before the modern technology of those vessels– obliged the shoguns to sign, on behalf of the Emperor, the Treaty of Kanagawa on March 31, 1854. Thus, the insertion of capitalist trade and western technology was begun in Japan. At the time, Europeans were unaware of the Japanese capacity to develop in that field.
On the heels of the Yankees, representatives of the Russian Empire arrived from the Far East, fearful that the U.S., to whom they later sold Alaska on October 18, 1867, would get a head-start on them in the trade activities with Japan. Great Britain and the other European colonizing nations arrived quickly in the country, with the same intentions.
During the U.S. intervention in 1847, Perry occupied different parts of Mexico. At the end of the war, the country lost more than 50 percent of its territory, precisely those areas where the greatest oil and gas reserves were to be found, even though at that time, gold and land to expand into, not fuel, were the main goals of the conquerors.
The first China-Japan War was officially declared on August 1, 1894. At the time Japan wanted Korea, a tributary state subordinated to China. With more developed weaponry and technology, it defeated Chinese forces in several battles near the cities of Seoul and Pyongyang. Later military victories opened their way towards Chinese territory.
In the month of November in that year, they took Port Arthur, today Lüshun. In the River Yalu estuary and at the Weihaiwei Naval Base, surprised by a land attack from the Liaodong Peninsula, heavy Japanese artillery destroyed the fleet of the attacked nation.
The dynasty had to ask for peace. The Treaty of Shimonoseki, which put an end to the war, was signed in April of 1895. China was forced to cede Taiwan, the Liaodong Peninsula and the archipelago of the Pescadores Islands to Japan "in perpetuity"; China also had to pay a war indemnity of 200 million taels of silver and open up four ports to the exterior. Russia, France and Germany, defending their individual interests, obliged Japan to return the Liaodong Peninsula, paying in exchange another 30 million taels of silver.
Before mentioning the second China-Japan War, I should include another armed episode with a double historical importance; it took place between 1904 and 1905 and it cannot be omitted.
After being inserted into armed civilization and wars for the partitioning of the world as imposed by the West, Japan, which had already waged the first war against China as mentioned above, developed its naval power to such a degree that it was able to deal a harsh blow to the Russian Empire which was at the point of prematurely inciting the revolution programmed by Lenin when he created in Minsk, ten years prior, the Party which would later unleash the October Revolution.
On August 10, 1904, with no advance warning, Japan attacked and destroyed the Russian Pacific Fleet at Shandong. Czar Nicholas II of Russia, upset by the attack, ordered the Baltic Fleet to be mobilized and to set sail for the Far East. Convoys of colliers were contracted to bring in the shipments needed by the fleet while it was sailing towards its distant destination. One of the operations to transfer coal had to be carried out on the high seas due to diplomatic pressures.
The Russians, upon entering south China, sailed towards Vladivostok, the only available port for the fleet's operations. In order to arrive at that point, there were three routes: the best choice was the Tsushima route; the other two required navigation to the east of Japan and increased the risks and the enormous wear and tear on the vessels and crews. The Japanese admiral had the same thought: for this option he prepared his plan and located his ships so that the Japanese Fleet, after making a U-turn, would have all its vessels, mainly cruisers, passing about 6 thousand meters away from the adversary's ships, a large number of battleships. These would be at the reach of the Japanese cruisers, outfitted with personnel that were rigorously trained in the use of their cannon. As a result of the lengthy route, the Russian battleships were navigating at a speed of only 8 knots as compared with the 16 knot speed of the Japanese vessels.
The military action is known by the name of Battle of Tsushima. It took place on May 27th and 28th of 1905.
On the side of the Russian Empire, 11 battleships and 8 cruisers took part.
After the battle, Japan became a much feared naval power, rivaling Great Britain and Germany and competing with the United States.
Japan rehabilitated the concept of the battleship as the principal weapon in the years to come. They embroiled themselves in the task of empowering the Imperial Japanese Army. They requested and paid a British shipbuilder to construct a special cruiser, with the intent of later reproducing it in their Japanese shipbuilding yards. Later, they manufactured battleships that were much better than those of their contemporaries, both in amour and power.
There was no other nation on the face of the earth that could come close to Japanese naval engineering in the 1930's in the design of war ships.
That explains the bold action with which, one day, they attacked their master and rival, the United States which, through Commodore Perry, started them off on their path of war.


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ONLY SMALL PETS WILL BE CONSIDERED. Walk to Restaurant Row around the corner on Frederick Douglass Blvd in addition to Best Market, cafes, bars and other services. Conveniently located near the 2, 3, B and C trains stop on West 116th Street as well as the M7, M116 and the crosstown bus. The M10 bus travels along Frederick Douglass Blvd and makes a stop at Columbus Circle. In proximity to Columbia University in Morningside on West 116th Street across Morningside Park.


text:
"That's no ordinary plumber snake! That's Excalibur, the mightiest tool of good deeds in all of the realm!"
—Mervin, "King Mario of Cramalot"
Excalibur, being risen from the lake of Forest of Perpetual Night and Terrible Dangers
The Excalibur is a long, golden plumbing snake that was used by Mario in The Super Mario Bros. Super Show! episode "King Mario of Cramalot".
The origin of the Excalibur is unknown, though Mervin the magician seems to have some knowledge of it. The Excalibur is located in a lake in the Forest of Perpetual Night and Terrible Dangers. In "King Mario of Cramalot", the Excalibur is summoned when a bolt of lightning struck the lake it is hidden in; this lightning bolt raises a hand out of the lake, which proceeds to toss the Excalibur to Mario.
Later, Mario uses the Excalibur against King Koopa and his Golden Plumber's Helper; in the end, the Excalibur proves to be more powerful than the Golden Plunger and King Koopa is defeated. What becomes of the Excalibur afterwards is unknown.
The Excalibur seems to possess a wide variety of abilities, by simply touching it, Mario is transformed into Super Mario. The Excalibur can also switch between being very flexible to being stiff and sword-like. The Excalibur can also extend and be used like a grappling line.
This Excalibur is based on the Excalibur from the Legend of King Arthur.
Retrieved from "https://www.mariowiki.com/index.php?title=Excalibur&oldid=3306250"
The Super Mario Bros. Super Show! items


text:
Title II SOVEREIGNTY, JURISDICTION AND EMBLEMS
8.007. Duties of the commission — state capitol commission fund created, lapse to general revenue prohibited — copyright and trademark permitted, when. — 1. The commission shall:
(1) Exercise general supervision of the administration of sections 8.001 to 8.007;
(2) Evaluate and approve capitol studies and improvement, expansion, renovation, and restoration projects including, but not limited to, the "21st-Century State Capitol Restoration Project", which includes, but is not limited to, the development and implementation of a comprehensive master plan for the restoration, protection, risk management, and continuing preservation of the capitol building, grounds, and any annex areas. For purposes of this section, "annex areas" shall mean the building currently occupied by the Missouri department of transportation located at 105 West Capitol Avenue in Jefferson City, if used to house members of the general assembly or legislative support staff, or any new building constructed for such purposes;
(3) Exercise ongoing supervision and coordination of the capitol building, grounds, and any annex areas;
(4) Evaluate and recommend courses of action on the restoration and preservation of the capitol, the preservation of historical significance of the capitol and the history of the capitol;
(5) Evaluate and recommend courses of action to ensure accessibility to the capitol for physically disabled persons;
(6) Advise, consult, and cooperate with the office of administration, the archives division of the office of the secretary of state, the historic preservation program within the department of natural resources, the division of tourism within the department of economic development and the historical society of Missouri in furtherance of the purposes of sections 8.001 to 8.007;
(7) Be authorized to cooperate or collaborate with other state agencies and not-for-profit organizations to publish books and manuals concerning the history of the capitol, its improvement or restoration;
(8) On or before October first of each year, submit to the budget director and the general assembly estimates of the requirements for appropriations for the capitol building, grounds, and any annex areas for the year commencing on the following first day of July;
(9) Encourage, participate in, or conduct studies, investigations, and research and demonstrations relating to improvement and restoration of the state capitol it may deem advisable and necessary for the discharge of its duties pursuant to sections 8.001 to 8.007;
(10) Hold hearings, issue notices of hearings, and take testimony as the commission deems necessary; and
(11) Initiate planning efforts, subject to the appropriation of funds, for a centennial celebration of the laying of the capstone of the Missouri state capitol.
2. The "State Capitol Commission Fund" is hereby created in the state treasury. Any moneys received from sources other than appropriation by the general assembly, including from private sources, gifts, donations and grants, shall be credited to the state capitol commission fund and shall be appropriated by the general assembly.
3. The provisions of section 33.080 to the contrary notwithstanding, moneys in the second capitol commission fund shall not be transferred and placed to the credit of the general revenue fund. Moneys in the state capitol commission fund shall not be appropriated for any purpose other than those designated by the commission.
4. The commission is authorized to accept all gifts, bequests and donations from any source whatsoever. The commission may also apply for and receive grants consistent with the purposes of sections 8.001 to 8.007. All such gifts, bequests, donations and grants shall be used or expended upon appropriation in accordance with their terms or stipulations, and the gifts, bequests, donations or grants may be used or expended for the preservation, improvement, expansion, renovation, restoration and improved accessibility and for promoting the historical significance of the capitol.
5. The commission may copyright or obtain a trademark for any photograph, written work, art object, or any product created of the capitol or capitol grounds. The commission may grant access or use of any such works to other organizations or individuals for a fee, at its sole discretion, or waive all fees. All funds obtained through licensing fees shall be credited to the capitol commission fund in a manner similar to funds the commission receives as gifts, donations, and grants. The funds shall be used for repairs, refurbishing, or to create art, exhibits, decorations, or other beautifications or adornments to the capitol or its grounds.
(L. 2001 S.B. 470, A.L. 2007 S.B. 322, A.L. 2009 S.B. 480, A.L. 2018 S.B. 843)
use this link to bookmark section 8.007
8.007 8/28/2018
8.007 8/28/2009 8/28/2018


Why is it necessary to give booster doses to my baby?
Know when your baby needs his next vaccine!
Booster doses keep your baby safe and protected from a range of diseases. Boosters can be described as a 'reminder' to your baby's immune system.
When babies are vaccinated against a disease such as measles, mumps and rubella with the MMR vaccine, the immunisation is successful in nearly all cases.
However, a small minority of babies don't become immune after the first injection and are still susceptible to the disease. So they need booster shots to build up immunity.
Also, some people tend to lose their immunity over time if they don't receive the recommended booster shots.
So booster doses are given to ensure that the immunity does build up even for those children in whom it didn't with the first vaccine.
For some immunisations, your baby will need a course of vaccines to build up his defences and to provide life-long immunity.
The reason for the variation in the length of acquired protection between different vaccines is not clear yet. A single dose of some vaccines provides lifelong immunity to most people, while other vaccines require additional doses (boosters) in order to maintain immunity.
Sometimes, vaccine boosters are needed, because the immune response 'memory' weakens over time. For example, anti-tetanus injections may need to be repeated every ten years.
Most schools and daycare centres will ask for your baby's health and immunisation record at the time of admission. Some schools also run booster dose camps in school to ensure all children have their booster doses on time.
See our immunisation scheduler to know more about when your baby is due for his booster doses. You can also download a printable version of the immunisation schedule.
Talk to your paediatrician if you have any concerns about the vaccinations your baby needs. Also, read our article on which vaccines are compulsory and why.
Worried about immunisations or vaccinations?
Can my baby get his missed vaccination at a later date?
Can my baby still have her vaccinations if she has a cough or cold?


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