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· Ribavin ( Ribavirin) comes with an extra patient information sheet called a Medication Guide. Read it carefully. Read it again each time you get Ribavin ( Ribavirin) refilled.
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· Drinking extra fluids while you are taking Ribavin ( Ribavirin) is recommended. Check with your doctor for instructions.
Ask your health care provider any questions you may have about how to use Ribavin ( Ribavirin).
Before taking Ribavin ( Ribavirin), tell your doctor or pharmacist if you are allergic to it; or if you have any other allergies. This product may contain inactive ingredients, which can cause allergic reactions or other problems. Talk to your pharmacist for more details.
Store Ribavin ( Ribavirin) between 59 and 86 degrees F (15 and 30 degrees C). Store away from heat, moisture, and light. Do not store in the bathroom. Keep Ribavin ( Ribavirin) out of the reach of children and away from pets.
Heptos ( Ribavirin) is used in combination with other antiviral medications to treat chronic (long-lasting) hepatitis C, a viral infection of the liver. Chronic hepatitis C infection can cause serious liver problems such as scarring (cirrhosis), or liver cancer. Heptos ( Ribavirin) works by reducing the amount of hepatitis C virus in your body, which may help your liver recover.
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Use Heptos ( Ribavirin) as directed by your doctor. Check the label on the medicine for exact dosing instructions.
· Heptos ( Ribavirin) comes with an extra patient information sheet called a Medication Guide. Read it carefully. Read it again each time you get Heptos ( Ribavirin) refilled.
· Take Heptos ( Ribavirin) by mouth with food.
· Drinking extra fluids while you are taking Heptos ( Ribavirin) is recommended. Check with your doctor for instructions.
Ask your health care provider any questions you may have about how to use Heptos ( Ribavirin).
Before taking Heptos ( Ribavirin), tell your doctor or pharmacist if you are allergic to it; or if you have any other allergies. This product may contain inactive ingredients, which can cause allergic reactions or other problems. Talk to your pharmacist for more details.
Store Heptos ( Ribavirin) between 59 and 86 degrees F (15 and 30 degrees C). Store away from heat, moisture, and light. Do not store in the bathroom. Keep Heptos ( Ribavirin) out of the reach of children and away from pets.
Ribahep ( Ribavirin) is used in combination with other antiviral medications to treat chronic (long-lasting) hepatitis C, a viral infection of the liver. Chronic hepatitis C infection can cause serious liver problems such as scarring (cirrhosis), or liver cancer. Ribahep ( Ribavirin) works by reducing the amount of hepatitis C virus in your body, which may help your liver recover.
Ribahep ( Ribavirin) is readily phosphorylated intracellularly by adenosine kinase to Ribahep ( Ribavirin) mono-, di-, and triphosphate metabolites. Ribahep ( Ribavirin) triphosphate (RTP) is a potent competitive inhibitor of inosine monophosphate (IMP) dehydrogenase, viral RNA polymerase and messenger RNA (mRNA) guanylyltransferase (viral) and can be incorporated into RNA in RNA viral species.. Guanylyltranserase inhibition stops the capping of mRNA. These diverse effects result in a marked reduction of intracellular guanosine triphosphate (GTP) pools and inhibition of viral RNA and protein synthesis. Ribahep ( Ribavirin) is also incorporated into the viral genome causing lethal mutagenesis and a subsequent decrease in specific viral infectivity.
Use Ribahep ( Ribavirin) as directed by your doctor. Check the label on the medicine for exact dosing instructions.
· Ribahep ( Ribavirin) comes with an extra patient information sheet called a Medication Guide. Read it carefully. Read it again each time you get Ribahep ( Ribavirin) refilled.
· Take Ribahep ( Ribavirin) by mouth with food.
· Drinking extra fluids while you are taking Ribahep ( Ribavirin) is recommended. Check with your doctor for instructions.
Ask your health care provider any questions you may have about how to use Ribahep ( Ribavirin).
Before taking Ribahep ( Ribavirin), tell your doctor or pharmacist if you are allergic to it; or if you have any other allergies. This product may contain inactive ingredients, which can cause allergic reactions or other problems. Talk to your pharmacist for more details.
Store Ribahep ( Ribavirin) between 59 and 86 degrees F (15 and 30 degrees C). Store away from heat, moisture, and light. Do not store in the bathroom. Keep Ribahep ( Ribavirin) out of the reach of children and away from pets.


Is High-Speed DSL available at my home or business?
To verify availability of service at your home, please enter your phone number on this page. This will tell you if you are able to have the service, as well as the maximum speed available on that line. For details on the pricing and conditions, please visit our residential or corporate plan detail pages.
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DSL service can only be installed on an active regular phone line, so if your service is an IP service (such as Digital/Cable, Vonage, Primus, Skype, etc) or if you do not have a phone line at all (for example if you only own a cell phone), the service will need to be installed using DryLoop line. There are additional fees involved. You can also select to choose our cable services instead.
Is VIF's DSL Service bandwith (upload/download) unlimited?
Yes and no. We are unlimited insofar as you will never be charged any transfer fee on our services, whatever amount you download. However, we do have a SoftCap of 100 gigs per month, and any user that goes over this limit will be switched to a secondary server (TBX-102) which has a lower priority on the bandwith – so regular users will not suffer from slower speeds during their normal usage of the service. This is done to prevent service slowdowns and cuts to all of our clients.
The limits are not evaluated monthly. Rather, we evaluate the past 15 days of usage on your account at 12:00AM every day. If in those past 15 days your bandwith (upload and download combined) equals or is higher than 50 gigabytes, you are transfered to the TBX-102 server. Since this is evaluated daily, as soon as your last 15 day's evaluation goes back under 50 gigabytes, your are switched back to the regular server.
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Yes, you can use your own modem on our service, as long as it is compatible with the G.DMT standard (aka "Alcatel-Compatible"). If you had the service with this modem with a previous ADSL provider, then it should work without a problem.
If you already have your modem it is important that you make sure that you also have ADSL Filters. You need to have a filter on every phone, fax, answering machine, or other phone equipment in the house. We include 2 filters in our modem kit, and can also sell additionnal filters for $5 each (if ordered without a modem, a minimum purchase of $5 is required if the filters are shipped). Filters are not necessary if you are using a dryloop line. All our FTTN services come with Dryloop included.
Is your High-Speed connection the same as with other ISPs?
We do not throttle ports on the service unless you have been switched to the TBX-102 server (see the explanation here). On some applications such as Kazaa, eMule or LimeWire, the default ports might be slower due to high usage, so you can fix this by changing the incoming port number in the software's settings.
Yes, you can connect more than one computer on high-speed from your home. To do this, all you need is to connect a router connected to your modem, connect your computer to this router, and setup the router to use our service. Please take note that we do not support router setup or configuration, you will need to refer to your router manual or contact your router's manufacturer for this support.


Jacques Webster, better known by his stage name Travi$ Scott, is an American hip hop recording artist, record producer and model from Houston, Texas. In 2012, Scott signed to Epic Records before eventually signing to Kanye West's G.O.O.D Music production wing known as Very G.O.O.D. Beats, in November of the same year, as an in-house producer, after appearing on the label's debut compilation Cruel Summer (2012). In April 2013, it was announced he signed with T.I.'s Grand Hustle imprint. He released his first official full-length project, a mixtape titled 'Owl Pharaoh', on May 21, 2013. On August 18, 2014 Scott released a free-album/mixtape entitled 'Days Before Rodeo'. His debut studio album, Rodeo, was released on September 4, 2015. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.


text:
Richard Blackford
Richard Blackford studied composition with John Lambert at the Royal College of Music, then with Hans Werner Henze in Rome.
Early awards include the Tagore Gold Medal, the Ricordi Prize and the Mendelssohn Scholarship. He was first Composer-in-Residence at Balliol College Oxford, and later Composer-in-Residence to the Brno Philharmonic in the Czech Republic.
His works were performed in the major music festivals of the world, including Adelaide, Berlin, Brighton, Montepulciano, Cheltenham, Long Island. He has composed in virtually every medium, including opera, choral, orchestral, theatre, film and ballet, with his most recent ballet Biophony (2015) in collaboration with Bernie Krause and Alonzo King, winning "Best Contemporary Performance 2016" in the Italian dance magazine Danza&Danza.
As a media composer Richard was nominated for an Emmy Award for Outstanding Achievement in Music for his 4-hour score for the CNN/BBC series Millennium, and in 2015 was awarded Die Goldene Deutschland for services to music in Germany. His literary collaborators include; Ted Hughes, Maya Angelou and Tony Harrison. He is a Director of the charity Music For Youth, President of the Bournemouth Symphony Chorus, a Trustee of the Aberystwyth MusicFest and Trustee of The Bach Choir.
Richard Blackford's music is published by Novello and Nimbus Publishing.
Mirror Of Perfection
From the Song of Songs
Sir Gawain and the Green Knigh...
Posthumus Leonatus
Sinfonie poliziane
Concerto for Seven
Sonata for piano
Three Cornish Pieces
Nowell, Dieu vous garde
Glad Day
www.blackford.co.uk
Royal College of Music
Music for Youth
55° 22' 40.9836" N, 3° 26' 9.5028" W
London GB

redpajama_set_name: RedPajamaCommonCrawl


A new "Immigration and Sustainable Development Objectives Training" series started on 9 July 2018 at Hacettepe University, Institute of Population Studies. Since the new thematic area has been selected as Immigration, the new training module developed for public institutes' personnel working on immigration. These training series have been financially and technically supported by United Nations Population Fund (UNFPA).
The aim of the week-long "Demography Training Series" is to enable state personnel to understand and analyze demographic models and data more commonly at the stage of policy development. The training series program aims to build fundamental knowledge and awareness in the field of demography in order to contribute in strengthening the capacities of public institutions.
In her opening remarks, Hacettepe University, Institute of Population Studies Director Prof. Dr. Banu Ergöçmen emphasized that Turkey is hosting the highest number of international immigrants. She also underlined that this week-long training's content has been developed on immigration which surely provide valuable contributions to the representatives of public institutions. She also noted that the liabilities required to be taken by all public institutions with respect to Sustainable Development Objectives on immigration topic will be emphasized by means of this training.
Another person who made a speech at the opening of the training series was the United Nations Population Fund (UNFPA), Development Program Reproductive Health Program Coordinator Dr. Gökhan Yıldırımkaya. Dr. Yıldırımkaya started his speech with a brief description of the United Nations Population Fund (UNFPA), Dr. Yıldırımkaya has stressed humanitarian aid efforts developed for Syrian refugees to provide assistance to the Turkish Government's large scope humanitarian aid program starting in 2011. He also emphasized that more proper and permanent results may be achieved in humanitarian aid efforts with a holistic approach by taking Sustainable Development Objectives into consideration by all public institutions working on immigration.
The topics like conceptions, theories, demographic practices, policies and legislation on field of immigration as one of three fundamental fields of demography have been addressed in detail under the title of "Immigration and Sustainable Development Objectives" of the demography training series and they are discussed in context of Sustainable Development Objectives. The details with respect to topics addressed in the training program (e.g. education, health, law, humanitarian aid, employment, gender equality) have been addressed within the framework of different immigration definitions and concepts and international and national legislations, discussed in context of some groups such as refugees, asylum seekers, those having international protection statute, irregular immigrants, human trafficking victims and the Sustainable Development Objectives with respect to these themes are discussed with the trainees.


text:
a t i s h e h
dance. fitness. joy.
Review of Samira Shuruk's Raqfit – Belly and Bollywood Dance Fitness Workout
Review of Zayna Gold's Healing Through Movement
Review of Belly Dance Drum Solos with Mariyah and Faisal Zedan
Written by Irina Dumitrescu
Belly Dance Drum Solos: Concepts for Dancers and Drummers is an intermediate/advanced level instructional DVD put out by dhavir productions. It also happens to be very, very good. It is rich in material, innovative in its pedagogy, and will give the intermediate or advanced student tons to work with.
But let's get one little thing out of the way. If you are a beginner dancer who does not have a lot of moves in your repertoire, or if you are the kind of person who likes to have a teacher explain every little thing before you feel comfortable following along (nothing wrong with this, it's a legitimate learning style), your enjoyment of this DVD will be limited. You might still get value out of watching it, but it will be harder for you to use it actively.
Belly Dance Drum Solos is aimed at students who already know a few steps (a screen at the beginning invites you to modify the moves according to your own ability), and who, more importantly, are comfortable doing a bit of follow-along and interpretation. If you are familiar with the bellydance scene at all, you know that the dance is taught in different ways depending on region and teacher. Typically, "Western" students tend to like choreographies and step-by-step instructions, whereas Middle Eastern teaching is often done by example, or "follow the bouncing butt," and works more with improvisation. But here's the neat thing: this DVD does both: some sections are designed for you to follow along as best you can, but the DVD also includes a full choreography that is broken down step by step. It's the best of both worlds.
After a brief written introduction to the DVD, we have a brief warm up routine (primarily for dancers, but drummers are also invited to use it) led by Mariyah. This is not a full, thorough warm up, but rather an exercise in centering yourself using breath. Mariyah talks about how staying centered and connected to your breath is what helps you have energy for an entire drum solo (which I didn't know), and the movements are indeed delightful. My one criticism here is that the instructions are only written on the screen, which makes it difficult to follow them during the frequent forward bends. Faisal Zedan follows with a brief discussion of the importance of posture and warming up for drummers.
The following section introduces a number of rhythms and movements that can be done to them. Included are masmoudi sagheer, maqsoum, saidi, falahi, malfouf, and ayoub. Each rhythm is shown first in notation, and then performed while Mariyah demonstrates the kinds of moves and move combinations she might do to them. The rhythms are not introduced slowly the way rhythm DVDs for dancers usually do — rather, the focus is on how they sound in an actual drum solo and how to move to them. On the one hand, I had trouble recognizing the rhythms at full speed, even though I know many of these in their slower, class versions. At the same time, I appreciated the exercise in reacting to real music, and loved seeing how Mariyah explored and varied both basic and more advanced bellydance moves. This is, I suspect, the part of the DVD I will return to most often.
In the section on "The Beat, Tempo, and Changing Rhythms", Faisal plays two alternating rhythms while Mariyah claps along to the underlying beat. It's an exercise in listening, and it's one that I'm glad to have, because finding the beat is a real challenge for me. The next level would be to play close attention to the rhythms themselves, but simply holding the beat was enough for me on the first go.
Another favourite section is "Putting the Sounds of the Drum into Movement," a kind of bookend to the rhythms section. Here, Faisal plays the "Doum" repeatedly, and Mariyah shows the sort of big, dramatic movements she would use for it. Same for Tek, Suk, and Tuq. In what follows, Faisal plays longer riffs, and Mariyah dances to them. In all of these, I simply followed along with what Mariyah was doing. It was generally pretty easy to tell what she was doing, and what I liked about not having instructions was that I could focus on different aspects of her dance — the main accents, embellishment with the head or hands, ways of moving the upper body — and try to follow along with that aspect of the dance. The "follow me" kind of pedagogy is perfect for this kind of exercise, because it's all about getting these moves and reactions into your body in an instinctual way, not about training you that there are one or two patterns to do when you hear a saidi. It's training in improvisation, and the more you pay attention to the details of how Mariyah interprets the music, the more you can get out of it.
As if all this weren't cool enough, yet another section follows, this one on the structure of solos. Faisal and Mariyah demonstrate how dancer and drummer communicate at various points in the drum solo, and again, you get multiple examples of: Introductions, Phrases over a rhythm, Free or arhythmic phrases (typically in the middle of a solo), and Endings.
Honestly, it's like these people sat down and thought to themselves, "what is every possible way we can teach how to dance to a drum solo?" and then gave you exercises for every single level. Single sound? Check. Riff? Check. Rhythm? Check. Section of the dance? You got it. And never just one exercise for each — multiple ones, so you get lots of ideas and practice. You could also just watch these and analyze, or note down moves or combos you like for your own practice.
Okay, so at this point we're about 53 minutes into the program, your intrepid, out-of-shape reviewer is tired and sweaty, and feeling pretty satisfied with the whole thing. But — lo and behold, a choreography!
And this is what I mean about different learning styles. If the first half of the DVD encourages you to follow intuitively, analytically, improvisationally, now you get a classic choreo instruction. Mariyah shows you each section slowly and describes every single step, then she runs you through it again slowly and with guidance. Then you practice it twice at full speed following her, and another two times following her in costume (which looks a little different). Every single little section is chaptered and easy to repeat. She does no movement instruction per se, but if you are intermediate you should be able to follow along, at least at half speed. Full speed may take a bit more practice. Here is my second and last criticism: this section is not mirrored, and at one point it became quite challenging for me to follow Mariyah's left with mine.
Because of the way my brain works, choreo tends to be something I like less than technique instruction. In this case, however, I felt the choreography was a real addition, a completion of the previous teaching, if you will. I treated it not as a dance I would personally perform, but as a series of combos that were mini-lessons in how to respond to rhythms. So I noticed that she'll sometimes do three moves, and vary on the fourth, or the way she'll move the movements from the lower body to upper and then back down again. Mariyah's instruction also helped me figure out some moves which I wasn't able to discern precisely from the previous sections. After you are done all the individual segments, there is a clip of Mariyah dancing the whole thing in costume. Your intrepid reviewer was, alas, too tired at this point to try and dance along.
The choreography is the kind that's jam packed and complex, but lest you think that's the only kind of drum solo there is, the last section of the DVD — about twenty minutes long — offers you five entire improv performances. I watched these while stretching, and while I was a bit tired, I could already see how different they were from the choreographed drum solo. Movements were simpler, you could see Mariyah and Faisal watching and interpreting each other's intentions. Not only did it have the magic of improvisation, but after all the previous exercises, you could analyse these performances, see what choices each of them was making, see the little moments where things didn't quite fit, and so on. I know some dancers go directly to the performances on a DVD, and this will be a special treat for them. Five. Five.
The production value of Belly Dance Drum Solos is very high: quality filming, in a bright, modern studio. Mariyah's costumes make it easy to see her movements even on a small screen. The chaptering is heroic — every single little thing is chaptered, so you can repeat a section at the press of a button, and every section and most sub-sections can be reached through the menu.
Mariyah is, incidentally, an absolutely lovely dancer. Graceful, energetic, musical. She has great technique, but it looks like it comes out of her spontaneously, not out of a desire to show off what she can do. There is a robotic kind of festival choreography we are all familiar with, and which I tend to find rather depressing, but Mariyah's dancing just makes me happy and hopeful about the art form. For a DVD like this, where so much of the learning happens by watching and imitating, it was really essential that the teacher be a beautiful dancer, and not merely a competent one, because you look to her for style, spirit, interpretation, not just to copy a bunch of moves.
All in all, Belly Dance Drum Solos is an excellent program for dancers who are past the beginner stage and ready to be active in their dance education. It is just under 1 hour and 52 minutes long, but it feels like much more than that because of all the different segments and exercises. I did it all in one go, but you can take the different sections on their own and study or practice with them — certainly the choreography would be worth working with in a more dedicated way to get it up to speed. I think it would also be a fantastic tool for teachers or troupes, since you have built in demonstrations and variations that you could analyse and discuss.
You can get the DVD or a streaming rental at dhavir productions, which also provided me with a review copy.
music and rhythms
New York City bellydance
advanced instructionals
Faisal Zedan
Mariyah
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Hi! I'm Irina, and I hope you'll enjoy reading my reviews and thoughts on dance!
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Resources for Dancers – A Masterlist
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Gambling.com » Online Betting » Strategy
Using The 'Zombie Apocalypse System' for Betting NBA Games
Steven Golden
Sometimes we forget NBA players are human. Sure, they are athletic freaks of nature in our eyes, but they do have a human body that must cope with the rigors of NBA travel.
Each team has certain schedule spots during the year where they are expected to be flat and tired. I like to call this "coming out like zombies." I created a system a few years ago that identifies the worst schedule spots for each team.
The NBA has changed their scheduling from years past where there used to be four games in five nights. This year, with the adjustments, the main schedule spots to fade are typically three games in four nights on a back-to-back. This is the tired spot, and what I call the "Zombie Apocalypse System" for NBA betting.
Using the Zombie Apocalypse System
There 17 games remaining that are worthy of large bets against the team in the bad schedule spot. I fully expect this effect to be in full display the rest of the season and hit at a high rate compared to the first half of the season due to more tired legs later in season. Without further ado, let's get into it.
The Wizards head to Chicago for their third game in four nights on a back-to-back. For those unfamiliar with the term back-to-back, it is when teams play two nights in a row. Not only that, but the Wizards will be playing in three different time zones during this stretch.
Ever get off a plane and feel jet-lagged and then be flustered by the time change? "I'm still on such and such time; I am tired." Now, try playing a basketball game against the best athletes in the world while feeling weak and tired.
The next night it's Orlando's turn for three games in four nights, back-to-back, while traveling from Milwaukee to Atlanta. This is easily one of the toughest spots of the season traveling east on the back-to-back to new time zone. Set this one as a high-alert pick in your reminders.
We have a rare three nights in a row with a Zombie Apocalypse System pick. On Feb. 11, the Heat travel to Denver for another three-games-in-four-nights back-to-back spot. This time will be tough. The Heat travel from Oakland to high-altitude Denver after playing the Warriors, which is tiring in itself. The Nuggets should wear the Heat out to the bone.
Can I get a fourth night in a row? YES. Lakers travel to Atlanta on Feb. 12.This time, it's their fifth game of a five-game road trip after playing a brutal schedule against the Celtics and 76ers.
If you have been watching the Lakers recently, you probably noticed all the turnovers and lazy play. All the trade rumors seem to have taken a toll on the players. This only adds to this schedule spot.
This will be a fun day: three Zombie Apocalypse System picks to end the month.
The Pacers host Minnesota after stops in Detroit and then Dallas the night before. The Heat play in Houston same day. This is a hard back-to-back for the Heat because they play at home in Miami vs. the Warriors the night before.
I love going against teams on a back-to-back that played the Warriors the night before. Teams get up for the Warriors and know they are on the big stage. The next day is set up for a letdown.
Finally, speaking of the Warriors, they play the Magic on a back-to-back with their own three-games-in-four-night stretch.
Now, most of you probably have not heard of this betting angle. The Warriors play at Miami then at Orlando in consecutive nights. This is called the "Acela Angle." For years and years, teams have lost one of these games. Perhaps it is the party scene? Who knows, but it is something of note that teams have struggled to win both these games over the years.
I expect the Warriors to get upset one of these two nights.
The Bucks travel to Utah. Like Denver, Utah is a horrific place to play a back-to-back, especially a third game in four nights. This has been confirmed by players, coaches and even sleep doctors. Over the years, these two cities have been hosts to blowout losses for visitors on back-to-backs.
The same day, the Pelicans head to, you guessed it, Denver in the same spot as the Bucks. The Suns game may not seem like a big deal, but facing a young energetic team that likes to run can be a less-than-ideal position in a tired spot.
Two more Zombies as the Hawks head to Miami with some nasty travel from Atlanta to Chicago to Miami. Now, keep an eye on this next one on the same day. The Pelicans are in another horrible spot, but this one is the big one. The Pelicans travel to Utah to play their fourth game in six nights. Who do they play the game before? At Denver. Hammer the Jazz.
The Thunder play the Clippers, and this is another BIG ONE to mark down. This will be the Thunder's second 3-in-4 in a nine-day stretch. That's six games in nine days. Not only that, but this is a back-to-back, and when your final game of this nasty stretch is in LA, you'll might be thinking about the Los Angeles nightlife by tipoff.
I see an unfocused Thunder team this night.
The Wizards play a 3-in-4 and back-to-back vs. Denver, with three time zones in this stretch. This is not a HUGE play since the Wizards will be at home, but it is worth noting and tracking.
We see the Lakers head to Utah on a 3-in-4, back-to-back, losing time in the travel.
We have two schedule spots here, going against the Spurs and the Hawks. The Spurs head to Denver on a back-to-back and 3-in-4, traveling from San Antonio to Denver. The Hawks are at home vs. Philly on a back-to-back, 3-in-4, three-time-zone stretch from Atlanta to San Antonio and back to Atlanta.
The final two spots to jot down are on the final day of the season. The lowly Knicks play Detroit at home with travel from New York to Chicago and back to New York.
The last thing a terrible team fighting for the No. 1 pick wants to do is win on the final game of the season in this kind of schedule. Later in the night, the Jazz cap off the season going to Los Angeles, with travel from LA to Utah and back to LA travel to finish off the season.
What's Happened So Far in 2018-19
One thing I have noticed in a lot of the first-half NBA Zombies is the team I am betting against has had high scoring first quarters and won the first half the majority of the time. I do not think it is safe to say this is a trend yet, but it is something worth paying attention to.
Even the Zombies that did not win against the spread earlier in season were great against the spread in the second half of the game.
Sleep doctors, staff, coaches and medicine will always account for some improvement in these types of schedule spots. But for now, it is still a great spot to bet on.
Take advantage of these games throughout the rest of the season. You can also use this type of information for NBA daily fantasy, knowing which players to avoid certain days due to fatigue.
Good luck and remember, Zombies aren't always scary.
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text:
Q: How get inner_html of ruby Nokogiri NodeSet unescaped? I would like to get unescaped inner html from a Nokogiri NodeSet. Does anyone know how to do this?

A: Anything not okey with?
nodeset.inner_html

A: The loofah gem helped me a lot here.

A: Wrap your nodes in CDATA:
def wrap_in_cdata(node)
    # Using Nokogiri::XML::Node#content instead of #inner_html (which
    # escapes HTML entities) so nested nodes will not work
    node.inner_html = node.document.create_cdata(node.content)
    node
end

Nokogiri::XML::Node#inner_html escapes HTML entities except in CDATA sections.
fragment = Nokogiri::HTML.fragment "
Here is an unescaped string: Turn left > right > straight & reach your destination.
"
puts fragment.inner_html
#
Here is an unescaped string: Turn left > right > straight & reach your destination.

fragment.xpath(".//span").each {|node| node.inner_html = node.document.create_cdata(node.content) }
fragment.inner_html
#
Here is an unescaped string: Turn left > right > straight & reach your destination.\n

A: An old version of libxml2 might cause Nokogiri to return some escaped characters. I had this problem recently.

redpajama_set_name: RedPajamaStackExchange


text:
"Ideally, you don't speak until you have something honest to say." – TJ Jagodowski
Photo © Lindsey Gemme
improv TJ Jagodowski
TJ Jagodowksi book
TJ Jagodowski Peter Grosz
TJ Jagodowski quote
March 29th by people and chairs in	Improv Tips & Quotes
How Cameron Got Over His Anxiety (And So Can You!)
For ten years, I watched helplessly as Cameron spiralled downward into anxiety, agoraphobia, and depression. Just the thought of doing stuff outside his comfort zone made him physically ill – and everything was outside his comfort zone.
So how did he go from sick and scared to an improv ninja who now teaches others how to overcome anxiety?
Find out, in this funny and inspiring series of posts he wrote for his blog. If you've ever thought being anxious was a life sentence, this is for you:
How I Got Over My Anxiety Part 1: Deciding To Change
How I Got Over My Anxiety Part 2: Seeing A Therapist
How I Got Over My Anxiety Party 3: Meditation
How I Got Over My Anxiety Part 4: Self-Help
How I Got Over My Anxiety Part 5: Improv!
How I Got Over My Anxiety Part 6: Facing Fear
How I Got Over My Anxiety Part 7: Accepting Myself As I Am Right Now
Cameron Algie anxiety
Cameron Algie improv
Cameron Algie Play With Fire
improv anxiety
March 19th by people and chairs in	Improv & Anxiety
TJ & Dave & Pam on Improvising At The Speed Of Life
For over a decade TJ Jagodowski and David Pasquesi have wowed fans and critics alike with their two-man show. Last year they opened their own theater, The Mission. And now they've co-written a book with Pam Victor, whose blog chronicles her own improv journey while celebrating the work of others. We asked them about (what else?) improv, on the eve of the book's launch.
Photo © Eleonora Briscoe
P&C: You're both busy acting in films, TV, web series, on stage, and now running a theatre. Why did you decide to write a book?
TJ: Circumstances seemed to conspire. All around the same time, David and I had both separately started jotting down some mad ramblings and then Pam offered to help us if we ever decided to write something.
P&C: Pam, how did you get involved with TJ and Dave, and specifically the book?
Pam: I'm slowly releasing the long answer to this question in a new series called "Writing The TJ & Dave Book" on my blog – it's a real behind-the-book look into my experiences over the last two years. Lots of sex, shoe-throwing, and gore. (OK, that's not true at all.) But here's the short answer: I've been a ginormous fan of the show pretty much since the first moment I saw it, which was in the documentary Trust Us This Is All Made Up . When they did a show in Western Massachusetts, where I live and TJ just so happens to be from, it was sold out, but I just had to get in. So I showed up, ticket-less, at the door and somehow begged my way in. When the lights came back up fifty-three minutes later, my life was forever changed.
After the show, I screwed up my courage and introduced myself to Dave. He was (and is) utterly charming, so I asked him if he'd be willing to do a "Geeking Out with…" interview with me. For some reason he said yes. That seemed to turn out pretty well, which lead to TJ's "Geeking Out with…" interview, conducted in his living room while I was in Chicago for the five-week iO Intensive. Once those interviews were published, I wasn't ready to stop being in their heads. I emailed them to say as much, suggesting that they should write a book and offering to be the one to help them with it. (I'm a little ballsy that way.) For some reason, they agreed. That was in the Fall of 2012, and I'm still waiting to wake up from the dream.
P&C: What can readers expect from the book?
TJ: I think they can expect a really thorough examination of how we think about improvising, which is a big thing we really love.
Pam: Basically, I spent two years asking TJ and David every single darn question I could come up with about how they approach improvisation, mostly within their show but also a bit as it applies to other shows. I think our hope is that readers can find an insight or two that they can take back and try out on their own. These gentlemen really have a unique approach to improvisation – it might seem pretty different than what we're seeing out there these days in most comedy schools – so I'm personally hoping that readers will simply expand their views of how one could improvise
P&C: The book is called Improvisation at the Speed of Life . What do you mean by that?
David: As opposed to any pre-determined speed. Like slow or fast.
TJ: That we would like our improvisation to represent reality. To look and feel real and in that, move at all the different paces the real world moves at.
P&C: What's unique about your approach, versus the way others improvise?
David: I think we look at it as realizing what is already occurring, as opposed to what we can make it into.
TJ: I think we play how most of us were taught to. Moment by moment, focused on your partner and what is happening. So, I'm not sure if we are unique, but if we are then a lot of folks have abandoned their education.
P&C: You're both so respected and your show so well loved. Why aren't there more people doing what you do?
David: Ask them. Actually I think there are people doing two-person stuff.
TJ: I think there is a lot of two-person improvisation going on. We are lucky in that we have been doing it a long time and get a long time on a given night to do it.
P&C: You've been performing as a duo for 13 years – longer than some marriages. How have you been influenced by each other's style, or has your style evolved together?
David: We don't agree totally on everything, but we certainly agree on the larger ideas about improvisation and what it is capable of delivering if we allow it to.
TJ: I think we have remained almost completely unevolved. We are still chasing the thing we started chasing 13 years ago in much the same way we began. I dont know if we have individual styles but if so, I still feel David is very much David and I still I.
P&C: TJ, you said in an interview that improv is often about "Why is this day different?" whereas you're more interested in "Why is this day the same?" Is that something you consciously do on stage: look for the everyday?
TJ: I would say more than looking for everyday, I don't look to find how this is different. It seems unnecessary to me. An audience has never met these characters before, so why do they have to be different than they normally are? I think that way of thinking is employed so that there is action or emotion to your play. But there is action and emotion in the things that happen everyday. And even if nothing big happens, David and I would prefer to honestly bore people than fabricate a meteor strike.
P&C: David, you've said that Del Close taught you to be honest and authentic in scenes, versus funny. Do you think improvisers shy away from honesty because they're afraid of being vulnerable, or afraid of audiences not laughing?
David: I suppose so. But Del also said that onstage you can afford to tell the truth…no one will believe it's you.
P&C: There's a lot of emphasis in curriculum nowadays on game of the scene. How do you think this is shaping improvisers or improv in general?
David: I'm not real sure what that means, so I cannot comment on it. I am not a student in class and I am not one who writes or follows a curriculum, so I am unqualified to say.
TJ: I don't know how it's shaping improvisation in general. I know that I don't think it's needed in improvisation. It serves a certain function in a style of play, but a good scene certainly doesn't need a game.
P&C: Actors are strongly encouraged to have improv training, yet few improvisers seem interested in taking acting lessons. Do you see that as a problem, or just the evolution of the art form?
TJ: I don't know if it's a problem, but if an acting class would benefit your improvising then I see no reason why you wouldn't want to do that. Sometimes we turn improvisation into sketch, and being able to act those sketches would be of real use as well.
David: I think it's very helpful to learn to listen more and be more present. On more than one occasion I was told by the director that I got the job in a play because of how I listened. That is directly from training and practice in improvisation.
P&C: You don't go "meta" on stage. How do you feel about shows that do that?
TJ: It sooo rarely goes well in my opinion that I think it's better to avoid it altogether. Things often seem to go meta when the show isn't going well, as a way to step out and away from it like you're not really doing it anymore, so you can feel free to comment on it and acknowledge it as something separate from yourself. Also, once you go meta you almost never get your show back into non-meta thinking. And I as an audience am now taught that this scene may not be there to be believed, but is there to be referred to or stepped out of
P&C: What are some other shows or performers you've seen whose work you enjoy?
David: Beer Shark Mice. I love watching them. They know each other so well, it's like one person rather than five guys. Dassie and Stef Weir, Scott Adsit…tons of folks. Literal tons. (Or tonnes for your British and Irish and Australian readers.)
TJ: I love the whole cast of our theater's sketch revue, our house ensemble, Michael O'Brien, Gethard, Trio, Quartet…this would truly be a very long list, so I'm going to stop.
P&C: Mick Napier jokingly (well, kind of) referred to improv as a cult. How important is it to cultivate other interests and experiences?
David: Essential.
TJ: When I first started, I was totally immersed in it. I think that helped me for a while. My passion was really intense and I had a lot to learn, tons of stage time to benefit from, new friendships to form. But at some point I realized I was talking about scenes I saw or was in as though they really happened out in the world. I got kind of scared that all my experiences would be imaginary, so I found a better balance in my life after that.
P&C: At the start of each show you say, "Trust us, this is all made up." Trust is obviously a huge factor in how you play together. Do you think it's possible to have that kind of trust with larger teams of players?
David: It is. I have had it. I think good group improvisation requires that trust.
TJ: Absolutely.
P&C: What is it about improv that's kept you doing it for over 25 years?
David: Still trying to do the same things. Trying to do them better, with more ease and grace. It always is exciting to see what is going to happen.
TJ: It lived up to its promise. It's different every time and on any given night it may be the most wonderful thing in the world. Why would someone not want that possibilty in their lives?
Improvisation at the Speed of Life is available for pre-order at amazon.com. Chapters include:
• The Job of an Improviser
• Being a Good Stage Partner
• Listening (No, We Mean Really Listening)
• Shut Up (No, We Mean Really Shut Up)
• Fuck The Rules
• The Importance of Disagreement in Agreement
• Being Funny Isn't The Goal
• Don't Step in That: Dealing with Trouble
• Taking the Next Little Step
• The People We Play
• Details and Specificity
David Pasquesi
David Pasquesi improv
Pam Victor
Pam Victor blog
TJ and Dave book
TJ and Dave improv
TJ and Dave Improvisation at the Speed of Life
TJ Jagodowksi improv
TJ Jagodowski
March 16th by people and chairs in	Book Reviews Interviews Long Form & Harold Other Cool Stuff
"We have to hide the ending from ourselves, and the story has to constantly surprise us, because then our art form imitates life." – Alex Tindal
Photo © Kevin Thom
Alex Tindal
March 5th by people and chairs in	Improv Tips & Quotes
The Professionals: David Shore on Finding Your Role By Doing
David Shore is an alumnus of The Second City Mainstage and iO West. A 13-time Canadian Comedy Award nominee and two-time winner, he is the founder of Monkey Toast. In 2010 he relocated to the UK and is now Artistic Director of Monkey Toast UK, where he oversees both its improv school and shows.
When did you first know you wanted to do improv/comedy/acting for a living?
I don't know that it was ever a conscious decision. It's more something that just happened and I think a lot of people in my age range came about it this way. I wanted to write sitcoms and got into acting in a backwards way. I fell in love with long form the first time I saw Bitter Noah at the newly opened IO West. I never thought I could earn a living at this or the direction that it would take my life in. I just knew that I had to try it.
What were you doing before this?
I am overly educated. I have a BA and a BAA. The second degree is from RTA at Ryerson. I wanted to be a TV writer/producer. That's what took me down to LA and that's where I discovered long form. As jobs I'd worked at a custom B&W photo lab, was the receptionist at a gay synagogue, and also worked as a headshot photographer. But I was trying, with minimal effort, to be a sitcom writer.
Who has had the greatest influence on your career, and why?
That's really hard to say. I've learned so much and have been shaped by my improv teachers and cast mates. Scot Robinson's class at the IO West in LA had a profound affect on me. He's simply the best teacher I've ever had. He doesn't get enough credit. He's one of the founders of The Annoyance. Shulie Cowen, my former coach taught me a ton and so did Jenna Jolovich, who taught me how to act while eating after a show at Canter's Deli. Also, Paul Valencourt, who was in Bitter Noah and opened up the IO West and was my first teacher there. He was and is amazing.
There was one event that changed everything about the way that I play and the way that I teach was taking Alan Arkin's workshop in Toronto at the Second City. He worked directly with Spolin and literally changed my life (and I know many others who took the course that felt the same way).
I still quote him to this day to all of my students and do some of the exercises that he did with us. Most importantly, he taught me that a character doesn't need to change and in many cases, must not. I did a scene with Albert Howell, and Arkin told me to pick an emotion and play it. I was a baker in a bakery, and I chose happy. So when Albert came in, I was very happy. Then he said, "I've just seen Cynthia," and I heard something in his tone, so I suddenly became sad. It was a good scene but at the end, Arkin asked me, "What was your emotional choice at the top of the scene?" I told him that I was happy. He then asked, why I changed. I told him because of Albert's offer. He had us do the scene again, and told me, "This time, not matter what, stay happy." The scene worked on a completely different level. It was a real eureka moment.
What was your first paid improv-related job?
Well when I came back from LA to Toronto, I did a run of the One-Man Harold at the Tim Sims Playhouse and actually made some good money off of that. But I suppose it really would have to be when I was hired to join the Second City Mainstage.
How much have former instructors, coaches, and team members played a part in your career?
I guess I already answered this question. If you don't learn from the people that you're playing with, then there's something wrong with you or you're simply not learning. I was lucky that I got to play with these amazing Chicago alumni rather quickly out in LA. That gave me the confidence that I could play. But the people on my Harold teams were tremendous influences on me. I had a core of about 3-4 people that I played with regularly for three years in LA, and it was just so supportive and fun and really cutting edge for the time.
Do you see improv as a means to doing other work, or an end in itself?
I think most people get into it to do something else, like writing or acting. I did it because I had writer's block and I wanted to meet people and form a sketch troupe. But once I got into Chicago-style, I wasn't so concerned with writing anymore. For me it is an end onto itself, but it has certainly made me a better writer (or at least I think so). It's also one of the most social things that you can do. I made and still have great friends out in LA, and made a ton of new friends in Toronto when I returned (I was not part of the scene before I left). Now almost all of my friends in London are through improv. Because you're onstage with people with nothing but "yes, and" and trust, you bond much quicker and form deeper friendships.
When you hear the words "working improviser," what comes to mind?
To me that's someone who earns most if not all of their living via improv. I think the majority do it through teaching and corporate work. While corporate work pays more, it is much less rewarding. I think there are very few who can earn a living by just performing improv. In Canada, I don't know if anyone outside of Colin Mochrie, and the Second City Mainstage cast who earn a living from just performing improv. Certainly lots of people act and write.
Describe a typical day in your life.
I don't really have a typical day, and I suppose that's typical. I teach a few nights a week and do a double on one day of the weekend. If it's the weekend, I'll drag my ass out of bed, eat, shower and make a sandwich before heading off into central London to teach. I'll teach for six hours straight, and then most likely have a drink with the final class once it's over. I may got out to eat, or meet my wife somewhere, but most likely I'll head home and have dinner with my wife and spend some time with her.
During the week, I will get up and do whatever is on my to-do list. Depending on what time of year it is I may have a ton of admin to do as I run my own improv school. So I may have 4-6 hours of admin to do on any day (we're looking for ways to streamline this). Right now, I don't have much admin, so I might go run errands, work on promoting the upcoming show, book guests for future shows and then I'll head off to work in central London. After class, I will sometimes stay for a drink and if not, I'll head home and will relax a bit with my wife before going to bed.
What's the salary range for an improviser in your city?
I really don't know what the salary range is in London. I know that I earn almost all of my income from teaching and running classes. I always tell people that if they're getting into this to be rich, then do something else. There are far easier ways to make money.
What are the differences (if any) between improv in the UK and North America?
There's a tremendous amount of talent here and work ethic is impressive. Performance-wise, some of the biggest differences are the lack of the "where" when doing a scene, and the Brits' tendency to try and be clever. There is also a false belief that audiences in North America are better educated in improv, but I don't feel that's true. I think improv is one of the most underrated and under-appreciated art forms pretty much everywhere.
Improv has been steadily infiltrating corporate and popular culture. With all of the interest in improvisation, why is it still so difficult to get bums on seats at shows? (Or is it, in your experience?)
I think there are lots of reasons for this. First off, in North America you need a machine behind you to put bums in seats because people just don't go out as much. The Second City has people whose full time job it is to sell tickets. That makes a big difference. Also, for whatever reason, if people see a bad improv show, they think all improv is bad. They don't feel that way about stand-up or sketch.
Also, there's a big problem with the way that groups promote themselves. How many groups promote themselves as being amazing or some of the best, when really they're not very good or they suck? Yes, suck. Are you really pros? There is a difference, and unfortunately only people in the local improv community know the difference.
What's the best, worst, or weirdest improv gig you've done?
The worst was easily when the Signa Nu fraternity bought out the Second City for their international convention. Playing before 400 frat boys was the worst experience that I've ever had. Maybe that only qualifies for sketch. Doing improv in a tent in North Hollywood was pretty weird. They had this beautiful theatre where we thought we were going to perform, but someone thought it would be great to put improv outdoors, near the music tent. They even promoted the should as a children's show, which it was not. My coach was furious, and at one point jumped into a scene and started shooting people. I have a vivid memory of a mother grabbing her young son and quickly taking him out of the tent.
Do you think it's easier to make a living as an improviser today than it was when you were starting out?
I think that it probably is as there's more people doing it so there's more opportunities.
Where do you see yourself 10 years from now?
Healthy, happy and still teaching but doing more Radio and TV as well.
David Shore improv
David Shore London improv
David Shore Monkey Toast
David Shore The Professionals
improv career
Monkey Toast UK
March 1st by people and chairs in	Comedy Careers The Professionals


We know that when you post a job listing on Idealist, you want to make sure to get the right people connected to the right position in your organization. Here are some tips for making the most of your Idealist listing.
First, let's take a look at what a not-so-great listing looks like, starting with the title.
With an unclear title, you'll be missing out on people searching for common search terms within their area of interest.
This listing also doesn't do a great job of describing the position.
Even if your organization doesn't have the most robust benefits package, try to think about the intangible things a potential recruit might be interested in.
A very high professional level and education requirement might be appropriate, but without an adequate description, this might seem really unreasonable.
There's not a lot of time between the application deadline and the start date, which will leave your HR person scrambling and could turn people off from applying.
So how do we remedy all of these potential sticking points? Let's take a look at a great listing!
This listing has a clear title, explicit salary information, and a very detailed description. This is all information a job seeker would like to get their hands on!
The time between the start date for the position and the application deadline is about a month, giving your team time to decide who will be the best person for the position.
Language requirements are also detailed here.
Finally, the How to Apply section has explicit and detailed instructions. In our user research, we've discovered that unclear application instructions can often be the deciding factor regarding whether a qualified applicant actually decides to apply for the position. Being as clear as possible in this section will help connect you to the talent you're looking for.
It might take a little longer to put together a listing that touches on each of these points, but it will be worth it in the long run when you've got the best possible talent working at your organization.
Need a second pair of eyes on your listing to see if it passes muster? Reach out to our support team for some assistance!


You've seen the first album of photographs from Manel Armengol's trip to in New York in 1977 and 1978, when he went backstage to meet Divine. (And don't miss his pictures of Barcelona under attack in the 1970s.) Here's Album 2.
Where politer European cities might have had street mimes, New York has always had the Brechtian street theatre of pavement psychodrama. The city clanked and cracked with the stress of its own fear and anger. It lashed out at the unwary. The streets sagged and steamed with a subterranean fury. The fire escapes rattled like mad monkey cages.
NYC 1978 — The Bowery Mission building, located at 227 Bowery, between Rivington and Stanton Streets, Manhattan. It provides food, shelter, medical services and employment assistance to poor homeless men.


DANNY DRINKWATER is struggling with a calf injury.
Chelsea splashed out £35m to land the 26-year-old midfielder from Leicester on transfer deadline day.
Drinkwater was an unused substitute in Saturday's win against the Foxes at the King Power Stadium.
And he is now a doubt to face Qarabag in the Champions League tomorrow night.
Chelsea boss Antonio Conte revealed: "Danny Drinkwater had a muscular problem in his calf.
Conte is likely to have one eye on Sunday's fixture against Arsenal and will rotate his squad against Qarabag.
Alvaro Morata could be given a breather, despite his positive impact since signing from Real Madrid.
Conte said: "He is playing very well, scoring and is totally in our idea of football.
Davide Zappacosta could make his full debut after coming on as a substitute against Leicester.
While Eden Hazard, who is close to reaching full fitness after an ankle injury, will start on the bench.
Atletico Madrid and Roma are the other two teams in Chelsea's group.


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Mr. Tongue At The Fair is a story that includes a set of exercises for lips, tongue and mouth.
The story will make the child become aware of the different parts of their mouth - lips, teeth and tongue. It will also help them to develop the movements needed for speech.
For the most effective use of this material, photocopy the pages and cut down the line provided. The pages can then be stapled together in booklet form which can be given to the child.


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The importance of reliable scale technology is obvious for veterinarians and animal caregivers. An animal's weight is a key factor in detecting health issues as well as in determining the effectiveness of treatments and diet. In the veterinarian's arena, scales must also be durable and easy to use, enabling a quick and precise weight calculation, of animals that are typically scared or excited and trying to escape. It is critical that the scale is quickly accessible and not complicated with moving parts and adjustments, so a scared pet can get on and off without a prolonged incident or restraint.
Small animal scales are also exposed to quite a bit of drool and urination from dogs, cats and other critters. Because of this it is necessary to thoroughly and constantly clean and sanitize the scales which create the need for scales that are water-resistant. Fortunately, there are several scale designs that are specifically for use with both large and small animals that can be employed on the floor, on an examination table or even a desk. These types of scales allow caregivers to either walk the animal onto or place them upon, a flat and unimposing scale that registers a quick reading.
Another aspect that veterinarians need with their scales is a large and clearly visible display. The assistant will typically position an animal on the scale while the veterinarian or another assistant records the results. A large display also permits one person to accomplish weighing and record-keeping, freeing up doctors and staff for other tasks which saves time and money.
Locating reliable veterinary scales that offer performance and reliability in the challenging setting of a veterinary office can be difficult, as many scales are limited to what sizes and precisions of measurement they can handle. Fortunately, Arlyn Scales hosts an entire line of accurate and versatile small animal scales that vary in weight capacity and size from 10 pounds to animals as big as 500 and 1000 pounds.
Arlyn Scales features the 320-VET and the 620-VET models, both tough and accurate walk-on scales that feature large digital displays, which can be placed where best seen by examiners. Both styles include a rugged aluminum construction and no-slip pads to hold them in place, as well as precision down to 0.002 pounds for an animal that weighs up to 10 pounds, as with the 620 model. These scales also come equipped with a "Weight Average and Hold" function to provide accurate readings of moving animals. Arlyn Scales offers several different sizes for each scale, providing the right size for individual settings that are often already crowded with equipment and tools.
Arlyn Scales manufacturers all of our products right here in the U.S. and ships them directly to customers, removing the middle-man and the high markup, allowing veterinarian offices to get the reliable equipment they need at a price they can afford. Regardless of whether a specialty scale or a custom scale is needed, the collection of products at www.ArlynScales.com provides a huge selection. Contact Arlyn Scales today.


Get ready for an exception evening of music that covers more genres than we could name, including: classical favorites, fiddling, vocal hits, ragtime, patriotic, gospel, and Irish. "The Johnson Strings" is of a one-of-a-kind Branson show!
Up Close Concerts welcomes to Branson for the first time Tommy James & The Shondells.