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Amos Daragon's lifestyles alterations without end the day a mermaid offers him a masks able to harnessing the energy of the wind—and appoints Amos because the new masks Wearer. His job: to discover the mask for the opposite components, earth, hearth, and water. in basic terms then will Amos be totally empowered to conflict the evil forces that threaten to ruin the stability of nature and plunge the area into darkness.
To satisfy his future, Amos needs to make his strategy to the mysterious woods of Tarkasis. yet a depraved sorcerer is terrorizing the land, looking for a cranium pendant that used to be stolen from him—a pendant that conceals a mystery weapon. what is going to Amos do whilst the pendant falls into his fingers? Will Beorf, a boy who can morph right into a endure, and Medusa, a snake-haired gorgon, grow to be buddy or foe? and may Amos grasp any of his newfound talents as masks Wearer in time to stand a powerful enemy? His chanllenges are nice . . . and they are simply beginning.
Photo an island set in a glittering blue sea, glowing with white sand and palm timber, a mystery position the place people and merfolk reside jointly. To Emily Windsnap — part mermaid, part human — her new house is excellent. that's, till Emily ruins every little thing by means of waking a mythical sea monster referred to as the kraken from its hundred-year sleep.
Ein Märchen der Brüder Grimm: Die Geschichte von einem tapferen Schneider, der SIEBEN AUF EINEN STREICH schlug und danach viele Abenteuer zu bestehen hatte, bis er schließlich die versprochene Belohnung bekam. Wie das Schneiderlein mit checklist und Fantasie eigentlich unlösbare Aufgaben meistert, erzählt das Märchen vom Tapferen Schneiderlein.
These thieves want to leave without paying," said the innkeeper. "They inhaled the fragrance of my soup and refuse to pay for it. " Barthelemy recognized the Daragon family. "You came to the wrong place, my friends," he told them. "This inn is probably the worst one in all of Bratel-la-Grande. According to our laws, this man is right; all travelers who stop at the Goat's Head are swindled in the same way. He uses our laws to his advantage. He's a crook and there is nothing I can do about it. I must make sure that this man is paid for the kitchen smells you enjoyed.
He seemed to be sniffing the scent of the newcomers. Amos approached the animal. He took it in his arms and noticed right away that the cat was blind. Why hadn't this cat fallen under the spell? Amos wondered. The explanation seemed obvious: the cat's blindness had saved it, which meant that looking at the enemy had turned the people and animals to stone. In fact, after taking a closer look, Amos realized that there wasn't simply one enemy; there were several. The ground was covered with many strange footprints: triangular footprints, ending with three long toes, were clearly visible all around.
Forget you ever saw this twig. " Edonf's face contracted with pain as he took ten gold coins out of his purse. "Here is my offer for your magic stick. If you refuse this money, I'll take your twig regardless and have your house set on fire. It's up to you! " Lowering his head as if in shame, Amos handed the stick to the lord. "Your will prevails," he said. "Yet you should know that it's with a heavy heart that I accept this money. But please, my lord, don't forget to dance around the pot as you chant, 'Come to a boil, my soup!
Next Post:New PDF release: Kapitalanlage 2009 in Steueroasen: Vertrauensschutz.


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com.amazonaws.auth.policy.actions

Enum CloudFormationActions

java.lang.Object

java.lang.Enum<CloudFormationActions>

com.amazonaws.auth.policy.actions.CloudFormationActions

All Implemented Interfaces:

Action, java.io.Serializable, java.lang.Comparable<CloudFormationActions>

public enum CloudFormationActions
extends java.lang.Enum<CloudFormationActions>
implements Action

The available AWS access control policy actions for AWS CloudFormation.

Enum Constant Summary

Enum Constants

Enum Constant and Description

AllCloudFormationActions

Represents any action executed on AWS CloudFormation.

CreateStack

Action for the CreateStack operation.

DeleteStack

Action for the DeleteStack operation.

DescribeStackEvents

Action for the DescribeStackEvents operation.

DescribeStackResource

Action for the DescribeStackResource operation.

DescribeStackResources

Action for the DescribeStackResources operation.

DescribeStacks

Action for the DescribeStacks operation.

EstimateTemplateCost

Action for the EstimateTemplateCost operation.

GetTemplate

Action for the GetTemplate operation.

ListStackResources

Action for the ListStackResources operation.

ListStacks

Action for the ListStacks operation.

UpdateStack

Action for the UpdateStack operation.

ValidateTemplate

Action for the ValidateTemplate operation.

Method Summary

Methods

Modifier and Type
Method and Description

java.lang.String
getActionName()

Returns the name of this action.

static CloudFormationActions
valueOf(java.lang.String name)

Returns the enum constant of this type with the specified name.

static CloudFormationActions[]
values()

Returns an array containing the constants of this enum type, in
the order they are declared.

Methods inherited from class java.lang.Enum

compareTo, equals, getDeclaringClass, hashCode, name, ordinal, toString, valueOf

Methods inherited from class java.lang.Object

getClass, notify, notifyAll, wait, wait, wait

Enum Constant Detail

AllCloudFormationActions

public static final CloudFormationActions AllCloudFormationActions

Represents any action executed on AWS CloudFormation.

CreateStack

public static final CloudFormationActions CreateStack

Action for the CreateStack operation.

DeleteStack

public static final CloudFormationActions DeleteStack

Action for the DeleteStack operation.

DescribeStackEvents

public static final CloudFormationActions DescribeStackEvents

Action for the DescribeStackEvents operation.

DescribeStackResource

public static final CloudFormationActions DescribeStackResource

Action for the DescribeStackResource operation.

DescribeStackResources

public static final CloudFormationActions DescribeStackResources

Action for the DescribeStackResources operation.

DescribeStacks

public static final CloudFormationActions DescribeStacks

Action for the DescribeStacks operation.

EstimateTemplateCost

public static final CloudFormationActions EstimateTemplateCost

Action for the EstimateTemplateCost operation.

GetTemplate

public static final CloudFormationActions GetTemplate

Action for the GetTemplate operation.

ListStacks

public static final CloudFormationActions ListStacks

Action for the ListStacks operation.

ListStackResources

public static final CloudFormationActions ListStackResources

Action for the ListStackResources operation.

UpdateStack

public static final CloudFormationActions UpdateStack

Action for the UpdateStack operation.

ValidateTemplate

public static final CloudFormationActions ValidateTemplate

Action for the ValidateTemplate operation.

Method Detail

values

public static CloudFormationActions[] values()

Returns an array containing the constants of this enum type, in
the order they are declared.  This method may be used to iterate
over the constants as follows:

for (CloudFormationActions c : CloudFormationActions.values())
    System.out.println(c);

Returns:

an array containing the constants of this enum type, in the order they are declared

valueOf

public static CloudFormationActions valueOf(java.lang.String name)

Returns the enum constant of this type with the specified name.
The string must match exactly an identifier used to declare an
enum constant in this type.  (Extraneous whitespace characters are
not permitted.)

Parameters:

name - the name of the enum constant to be returned.

Returns:

the enum constant with the specified name

Throws:

java.lang.IllegalArgumentException - if this enum type has no constant with the specified name

java.lang.NullPointerException - if the argument is null

getActionName

public java.lang.String getActionName()

Description copied from interface: Action

Returns the name of this action. For example, 'sqs:SendMessage' is the
 name corresponding to the SQS action that enables users to send a message
 to an SQS queue.

Specified by:

getActionName in interface Action

Returns:

The name of this action.

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            Copyright © 2013 Amazon Web Services, Inc. All Rights Reserved.

redpajama_set_name: RedPajamaGithub


Directory Songs popularized by Jan Und Kjeld.
The song "Mary Lou" popularized by Jan Und Kjeld is song number 7085 in the Magic Sing German 2 Song Chip.
The song "Mary Lou" popularized by Jan Und Kjeld is song number 7100 in the Magic Sing German Song Chip.


In order to apply for trade discounts please first create an online account using the "new account" option at the top right corner of the page. This allows us to deal with you application more quickly and avoids having to take lots of details over the phone.
Briefly, what does the business do.
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If you have already created an account online, we can automatically apply trade discounts once your application is approved.
Have you already created an account on the website?
Once this form is completed we will get back to you within 24 hours, or, if you require immediate pricing please complete the form then call us, and we can sort this over the phone.


At Genesis Equipment, we can provide tailored solutions to assist with servicing and maintenance. We offer equipment that helps keep defence equipment and machinery maintained at peak condition for optimal safety, performance and precision. The defence industry makes use of many different machines, vehicles and equipment types, all of which require routine maintenance and servicing to ensure they continue working to the highest standard.
Genesis Equipment has been at the forefront of designing lifting and hoisting equipment for the defence industry for decades. We make the routine servicing and maintenance of defence transportation and equipment easy with our range of readymade lifting solutions. Alternatively, if you need a tailored solution that accommodates a specific need, we can work with you to deliver a solution that will be to your complete satisfaction. Whether you need a 2 or 4 post lifting system, or a custom solution designed in conjunction with Genesis Equipment, contact us today.


The Listening Fund is a £900,000 fund designed to enable young people to have their say in shaping their own support services - capturing their voices and views.
The Listening Fund will be shared across 22 youth-focused organisations in England and will promote creative mechanisms – from new technology and research, to board positions for young people - to make sure young people's voices are heard.
The Fund will target young people facing various disadvantages, including those leaving care or experiencing homelessness, school exclusion, poor mental health and sexual exploitation and abuse.
It is a collaboration between the Big Lottery Fund, the Blagrave Trust, Comic Relief, and Esmée Fairbairn Foundation, and marks a shift in the treatment of young people, who have often been treated as part of a problem to be solved rather than a solution.
Young people across society today are facing huge challenges, from increasing youth unemployment to unaffordable housing. "We have got to learn to engage them, listen properly to what they say and value their views if we are going to develop and deliver the services they need to meet these challenges. That's why the Listening Fund is so valuable.
The 22 organisations sharing the Listening Fund range from New Forest-based It's Your Choice and the Kent Refugee Action Network to London's Black Women's Project, the national Prison Reform Trust and Centre 63 in Liverpool.
We will share more about the Fund as work gets underway, and over the next two years. Partners and funders will be sharing what they have learned to encourage improvements in listening across the charitable sector.
A full list of funded partners, along with any news about the Fund will be posted on Blagrave Trust's website.


To cheer myself up this week and to spend some vouchers I decided to take a well deserved shopping trip and I managed to get myself a few new things that I thought I would share with you.
Hat - River Island £22.99 I jumped on the band wagon and got myself one of these beauties. I don't go anywhere nice enough to wear it but I adore the style so so much and I never want to take it off my head. It was £23 which is a lot more than I would normally pay for a hat but River Island had annoyed me already because I couldn't get the boots that I wanted so I just splurged and got the hat. I find something witchy about it - just call me Sabrina.
Polar Neck Crop Jumpers - Primark £2 (sale) - I have been after a polar neck jumper or two for a while but whenever I find one I tell myself that I wont be winter for long and then when I get home I realise how dumb I was for thinking that. Finally I found these for super duper cheap in Primark and they are so comfy. The fact that they're cropped means I will be able to wear them into the spring as well. However I did something really silly - I cut a hole in the grey one when cutting out the label but luckily I can sew - phew!
Oversized tee - Primark £2.50 (men's) - Primark logic is so sneaky. In the women's section they were selling oversized t-shirts that said 'I <3 my boyfriend's tee' on the label - so basically a women's oversized t-shirt that makes it look like it's your boyfriends - for £3. However if you just go to the men's section, the t-shirts that are so much nicer and will actually look properly like your boyfriend's tee were a whole 50p cheaper. I got this in a size L because they all looked quite small and I wanted it to be properly oversized and it's so soft and comfy , I can tell I will be living in it.
So these are just a few new additions to my wardrobe. I will be doing another post sharing the beauty products I bought too. Have you bought anything new recently?
Love the sheer kimono jacket, such a bargain!


Violinist Marjolaine Lambert, a native of Joliette but self-proclaimed Montrealer, started her music studies at the age of four years old, following the footsteps of her brother, violist Frédéric Lambert. At a young age, her natural talent led her to join the studio of Johanne Arel and Raymond Dessaints at Conservatoire de musique de Montréal, which she graduated from in 2005. With a passion for learning and broadening her general knowledge, she went to McGill University in the class of Denise Lupien. Studying the rudiments of mandarin as a minor, it led her to tour through China as Principal Second violin of the Orchestre de la Francophonie Canadienne.
Upon completion of her Bachelor's degree with honour, she went to Yale University for her Master's degree to study with Ani Kavafian. There, she thrived as the concertmaster of the Yale Philharmonia and winner of the Woosley Concerto Competition. Establishing strong collaborations with contemporary composers, maestro Julian Wachner and herself created Novus NYC, an orchestra devoted to new music, of which she acted as concertmaster. She had the opportunity to premiere works by David Lang, Bernard Rands and Christopher Theofanidis.
Her passion for new music led her to pursuit a Doctorate of Music at McGill University, with the support of the Social Sciences and Humanities Research Council of Canada, which focused on the hyper-violin created by Pierre Boulez in his Anthèmes. Her work with live electronics has brought her interesting and different kinds of projects, including the world premiere of Les Gestes, a creation of dance choreographer Isabelle Van Grimde.
Marjolaine has performed as a soloist under many conductors such as Yuli Turovsky, Peter Oudnjian and Shinik Hahm. As a chambrist, she's been invited to perform often with Les Violons du Roy, I Musici and Arcos Chamber Orchestra.
In her rare spare time, Marjolaine enjoys watching an impressive amount of tv shows, discovering the depths of performance practice on her baroque violin or rocking out stadiums with Céline Dion.
She is thrilled to be a member of the National Arts Centre Orchestra, as of September 2016.


this intricate tale of 'medicine, monopoly and malice' tells us how Western pharmaceutical companies and governments aggressively blocked access to low-cost AIDS drugs for the countries of Africa and the global south - causing ten million or more unnecessary deaths. Shot on four continents and including contributions from Bill Clinton, Desmond Tutu and Joseph Stiglitz, this is the true story of the remarkable coalition which came together to stop 'the Crime of the Century'. Dramatic past victories having given way to serious setbacks, - engineered far from public view - the real fight for access to life-saving medicine is almost certainly just beginning.
Cricklewood Craic is a portrait of Irish construction workers who lived and sought work in north west London between the 1950s and the end of the 20th Century. Four retired construction workers who migrated to London recount their experiences and reveal a once thriving Irish community.
Screenings are at Bolívar Hall, 54 Grafton Way, London W1T 5DL.
Nearest tube: Warren Street. Overground: Euston.
Buses: 10, 14, 18, 24, 27, 29, 30, 73, 88, 134, 205, 390.
Booking information: tickets are available from 10.20am on the day and may not be booked in advance.
Admission £10, concessions £8. Annual members £6/£4. Sorry no credit cards.


text:
Prince Harry claims he saw 'red mist' in Prince William during altercation
Prince Harry has claimed he saw "this red mist" in his brother Prince William during their alleged altercation in 2019.
In his upcoming autobiography Spare, the British royal claimed his older brother physically attacked him during a dispute about Harry's wife Meghan, Duchess of Sussex inside of his London home, Nottingham Cottage.
Discussing the alleged incident in an interview with ITV News presenter Tom Bradby, Harry recalled how he saw a red mist - or extreme anger which clouds one's judgement - descend upon his sibling.
"What was different here was this level of frustration," Harry claimed in a preview clip released on Friday. "I talk about the red mist that I had for so many years, and I saw this red mist in him... He wanted me to hit him back. But I chose not to."
In the book, the 38-year-old alleged he suffered "scrapes and bruises" on his back after William knocked him to the floor and he landed on a dog bowl.
"It all happened so fast. So very fast. He grabbed me by the collar, ripping my necklace, and he knocked me to the floor. I landed on the dog's bowl, which cracked under my back, the pieces cutting into me. I lay there for a moment, dazed, then got to my feet and told him to get out," he wrote in the memoir.
Elsewhere in the preview clip, the host noted all the references to drug use in the book and told Harry the revelations will "surprise people" and the royal insisted, "But (it's) important to acknowledge."
The Duke of Sussex also told Bradby that he ultimately wants to reconcile with his family.
"First, there needs to be some accountability," he said. "The truth, supposedly, at the moment, has been there's only one side to this story, right? But, there's two sides to every story."
Harry's 90-minute interview will air in the U.K. on Sunday, two days before Spare is released.
'Fire-breathing demon': shelter opts for honesty in adoption ad for 'full jerk' dog
A no-kill shelter in Niagara Falls, New York, takes unconventional approach to finding new owners for French bulldog
Outdoor play reduces negative effects of screen time on young children
Researchers from Osaka University have reported that some of the negative effects can be mitigated by time playing outdoors. "Although both communication and daily living skills were worse in four-year-old children who had had more screen time at aged two, outdoor play time had very different effects on these two neurodevelopmental outcomes
Kourtney Kardashian's Naked Dress Made Us Do A Double Take
Kourtney Kardashian has put her own spin on the naked dress trend, sharing a series of photos as she poses in a Balmain Spring 2023 gown.
Amber Rose vows to never have sex again
Shakira shares peek at motherhood struggle with her two sons with ex Gerard Pique
Shakira is riding on a big high as she celebrates the success of her collaboration with DJ Bizarrap with their BZRP Music Sessions #53 collab. Amid all the waves it has created, though, the singer continues to focus most of her attention to her life as a mom to her two sons with ex Gerard Pique, Sasha and Milan. VIDEO: Shakira and her sons bring the moves The singer took to social media to share glimpses of their life at home, specifically their morning rituals, as she took on the task of making
Bring your birthday cake to work – it's a crumb of comfort
Work is changing fast, but one sure way to hold on to the old ways is to offer round a slice of cake and a cup of tea, says Eva Wiseman

redpajama_set_name: RedPajamaCommonCrawl


The robot is a web-application for scheduling, routing, and tracking just-in-time food rescue. It was developed by volunteers of Boulder Food Rescue, an all volunteer non-profit organization located in Boulder, Colorado. Although originally used exclusively by Boulder Food Rescue, the robot is now used by multiple organizations around the world, fighting malnutrition and food waste with love, community, and bicycles. If you'd like to start a food rescue group in your town, shoot an email to info at boulder food rescue dot org and we can set you up with an account on here. If you're a super-diy sort and want to hack on the source you can do that too.


Maine Guide you lived in Mass, why is Mass Health so cheap?? and it covers everything, I don't have it but my sister does she pays little to nothing? is there a difference between Obama Care and Mass health??
I saw this one coming a mile away 'What's with @FoxNews?': Trump fumes after Bernie Sanders town hall"
Taking a break from rigging lobster traps, that said what is your order of importance regarding a lure? 1, Action 2, Color 3, Scent 4, Size for me 1,3,4,2 What say you??


I've had an intimate relationship this week with Justin and his peanut butter, and it's not what you think.
If you're unfamiliar with Justin, you've probably run into his products at Whole Foods – or these days, more appropriately – just about anywhere. He's the creator of uniquely-flavored nut butters (honey peanut butter, vanilla almond butter, etc), the eponymous peanut butter squeeze pack, and those nightmarishly addictive dark chocolate-covered peanut butter cups.
As much as I like Justin and his products, let's talk about why I've got a bone to pick with him.
For those of you who are familiar with food allergies, it's prickly business. Label reading becomes part of the daily routine, a necessary evil that keeps food allergic kids safe and free of full-body hives. And herein lies the problem – we expect brands to keep to a certain standard and not throw us for a loop.
A few months ago we got the good news that Lauren's skin test suggested that she may be able to tolerate almonds. Now I know this may not sound like a big deal, but when you've had to avoid all forms of nuts and sesame seeds for your entire life, it's pure joy to think that you might be able to eat an almond croissant. A granola bar. A candy-colored macaron.
And, maybe a little too selfishly, I was getting tired of using pumpkin seeds. Pumpkin seed pesto…pumpkin seed dressing.…roasted pepitas…..soup garnish….brittle….Buehller….Buehller…..
We signed ourselves up for the 3-month long waiting list and got our date: March 3. Soon after, we received an email specifying that food allergy testing is BYO (who knew?) and that I needed to bring Justin's or Barney's brand of almond better since they don't pose a risk for cross-contamination.
We showed up at Mount Sinai last week, almond butter and pre-approved crackers in hand, and were shown to a spacious room where we'd be spending the next 5 hours.
Things were looking good. Exceptionally good. I was excited for some well-deserved downtime and had packed my bag full of treats – a good book, music, some sketchpads and new markers for Lauren. All we had to do was sit and wait it out while Lauren would sample some delicious Justin's almond butter every 15 minutes. We'd then stay for a few more hours to be sure that she didn't develop any allergy symptoms.
I was unpacking my bag when our sprightly nurse skipped into the room and pointed out that the Justin's label is no longer peanut free.
Yes, well, apparently they'd pulled a fast one and switched up the processes in the last few months and now use peanuts on the same machine as the almonds.
That's like telling Dorothy that her shoes are actually lace-up sneakers and she now needs to sprint to the Emerald City instead of taking a meandering walk down a lovely brick road. In other words: not good news.
But sometimes, you have to accept that the outcome you wanted so badly is out of your grasp.
Which is fine. Our friend the pumpkin seed will pick up the slack. We'll just have to give him a haircut and a new set of clothes; style him differently; pair him with a few exotic ingredients like a creamy dilled spread (I used plain Chobani yogurt), Spring vegetables, grilled garlic flatbreads and homemade preserved Meyer lemons (recipe here).
Pumpkin seed, we'll hang with you for a little while longer. You're not so bad after all. In fact, on the right day, under the right circumstances, with the right mood lighting, you're actually pretty spectacular.
This post was written in partnership with the lovely folks at Chobani. All opinions are, as always, my own.
To make the creamy dill spread, mix the yogurt, ricotta, dill and preserved lemons in a small bowl. Taste for saltiness- the preserved lemons are quite salty, but feel free to add a little more salt to taste. Set aside.
Heat a large grill pan or saute pan on medium-high heat, and when hot, add 1 tablespoon of olive oil and the green onions. Grill or sauté for a few minutes, turning every so often until they're charred in parts. Season with a little salt before you pull them off the heat but leave the pan on.
Add your flatbreads to the grill or sautee pan and cook for a minute or two per side until the flatbreads are toasted but still pliable.
In a smaller sauté pan, heat the remaining tablespoon of olive oil on medium heat, and when hot, add the pumpkin seeds. Keep an eye on them, stirring occasionally, and take them off when they've almost turned in color from green to a puffed and toasty shade of brown, add the baharat spice powder. Sautee for another minute, taking care not to burn them. As soon as they're cooked, transfer them to a bowl and season with a little salt. Set aside.
When you're ready to assemble, plate each flatbread, and divide the yogurt spread equally (you might have some left over).
Top with the grilled onions, the sliced radishes, and some torn watercress leaves and scatter the spiced pumpkin seeds on top. Finish the flatbreads with a light scattering of Maldon sea salt flakes for some additional saltiness and texture.
Depending on how many flatbreads you make, you may have some leftover yogurt spread, which is fantastic on toast or as a dip for vegetables.
16 Responses to "Middle-Eastern dilled yogurt flatbreads with spiced pumpkin seeds"
I was sitting on the edge of my chair reading this post, all the time hoping for a happy outcome and agonizing over Lauren's every gag. Must say, that's VERY poor on Justin's part. Good on you for trying. Thanks for the recipe. Pumpkin seeds rule!
This looks fantastic! Great combination of flavors, love the pumpkin seeds!
Feel for you, not easy but you guys have it right! Try sunflower seeds if you're allowed. Toasted they are amazing and the pesto is great too!
Poor Lauren and poor mommy!! Hoping she will still outgrow it!
Wishful thinking, but I'm a realist, and know that it probably won't happen. That being said, I think treatments/a cure for food allergies is in the near future. And we don't get there, at least we have perspective. Of all of the health issues we could have landed with, this is an easy one to handle!
Jessica, really you are like the best writer/chef/photographer I know! I feel right at that kitchen with you helping you out passing you the ingredients as you need them. I just wish I was your neighbor so maybe I could enjoy a left over! and then a question…. do you children really eat all those veggies?? if they do then you´ll be the best mommy/writer/photographer/chef that i know!
Thank you Carolina, you're too kind 🙂 And yes, my two girls are adventurous eaters and will eat just about anything. My son is the picky one…and I must say that it wasn't always like that, but if you look under Food in the menu and see "the 52 week challenge" that was our attempt to eat a new fruit or vegetable each week for nearly 2 years, they made great strides!
Jessica,you have kept your sense of humor through all this, the only thing you can do, whilst you figure out the allergies. Obviously you are trying everything within reason, does it ever happen that you can outgrow these kinds of allergies or are they with you forever?
Thanks for visiting to share on The Oh My Heartsie Girls WW this week!!
OH my I am so sorry for her, and I can feel you pain. Hope things improve.
Hope she out grows it. So hard with allergies. Love the look of the flat breads.
looks awesome….I never tried pumpkin seed though..my bad :)..but all those greeny makes me hungry :)..
Oh wow I was gripping my seat for this one :-). As the mom of an allergic kid (a little younger than yours, mind), I know exactly what it feels like to get your food hopes up, only to have them dashed. Sigh. We've been having some food allergy ups and downs over here too, and geez. Geez.
I'm so grateful for the pumpkin seed. Truly I don't quite know what I'd do without it. Ha! This week I made some cilantro pumpkin seed pesto that went over very well (except with the picky three year old…typical).
I'm going to try this lovely recipe with some gluten-free bread or crackers because, you know, wheat allergies and everything. Sigh.


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Corporate & Foundation Relations
Administration of Grants
Assistance with Proposal Development
Humanities Opportunities
Multidisciplinary Opportunities
Natural Sciences Opportunities
References & Tools
Social Sciences Opportunities
The Office of Corporate & Foundation Relations offers two kinds of assistance to grant seekers at Pacific. First, the office provides access to a wide range of online resources which anyone can use to research funding opportunities for individuals, programs, projects, or the institution. CFR also has a library of print resources pertaining to foundations, corporate giving, higher-education institutions and related subjects.
Second, and complementing these resources, the office assists faculty and staff in making personal contacts with program officers at funding agencies, including philanthropic foundations and private corporations. Often, these organizations require grant seekers to contact a program officer in the early stages of proposal preparation. Program officers can be enormously helpful in refining ideas to conform to a funder's guidelines and expectations.
If you would like to contact a funder, please email the Corporate & Foundation Relations Gift Officer to coordinate your approach. It is important that CFR work with you before you contact a program officer for two key reasons: 1) the University has numerous long-standing relationships with agencies, which can often be valuable in developing further ties; 2) the University may have a pending proposal that could either affect or be affected by another, new proposal.
Beyond identifying resources, CFR can provide assistance with proposal preparation and the administration of grants.
Information about the programs most likely to award research or sabbatical funding to Pacific faculty is compiled below. When planning your timeline to meet a grant deadline, take into account that preparing your application may take weeks or months: obtaining University approval can take at least a week and receiving a response from the funding organization can take six months or more. The earlier you let CFR know of your interest in applying, the better we can assist you.
Please keep in mind that some of the deadlines listed may be changed by the funder without notice. Be sure to confirm deadlines on the funder's website.
Programs (listed by date)
On our Databases and Email Alerts page, you will find many additional resources to help you identify other sources of funding. You can also drop by the CFR office in University Advancement on 3rd Floor, Marsh Hall, or contact us for help determining the best prospects for your funding needs.


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A side-show for all
If The Siren graduates from pop-up show to midsize venue, Sacramento's alternative arts could finally have a home
By Aaron Carnes
Jay Siren wants to be the city's variety acts together.
Photo courtesy of Katy karns Photography
Check out the Siren's next pop-up show, 3-2-1...SIZZLE!, Friday, November 30, at The Comedy Spot downtown. It includes improv comedy mixed with burlesque performances. $20 cover. Shows at 8 p.m. and 9:30 p.m. 1050 20th Street, Suite 130. For more info, visit thesirenevents.com.
The California Automobile Museum does its best impression of a dimly lit, prohibition-era nightclub. People are dressed in snappy suits and colorful dresses. The bartender pours copious drinks for thirsty patrons while the evening's dancers stroll through the crowd.
On stage, three women do a peculiar routine to No Doubt's "Spiderwebs." Two of them take turns singing/lip-syncing and interjecting burlesque dance moves. The third enters in a semi-scary spider outfit. A fight ensues with tossed oranges (an homage to the song's famous '90s music video) and silly string retaliation. It manages to be weird, sexy and really creative.
It's one routine of many that night, on September 29, the premiere pop-up event for The Siren. The imagination was consistent throughout each performance. There are many more Siren pop-ups on the way, including one at The Comedy Spot on November 30, called 3-2-1…Sizzle, where burlesque will inspire improvised comedy.
At the front of the show, Jay Siren, the festivities' figurehead, came onstage. She explained that the event was about more than just a single night of entertainment that included burlesque, comedy, music and performance art.
"I'm here to share a vision with you of unifying Sacramento's alternative arts scene," she told the crowd. "Being here tonight is the only thing that gives this a chance to scale and fly."
Sac artists like Deaja Girl On Fire don't offer your typical performance: She mixes fire manipulation, acrobatics and burlesque.
She's talking about opening an actual venue called The Siren, along with her business partner Jay Sales, that would not only fill a midsized venue void in Sacramento (500-600 capacity), but would focus on art forms that don't have much of a home in town: burlesque, carnival acts, magic, drag, variety.
Music and comedy will play a role, but Siren's really concerned with giving a larger space to alternative artists who are struggling to find a consistent audience.
"Sacramento touts the claim of being a world-class city. You look at other great cities as examples. That unique, authentic embraced local arts scene is there," Siren tells SN&R. "We have pieces of that everywhere, but there hasn't been that unifying force to bring it all together. The heart of The Siren project lies in the idea that by mobilizing our greater artistic community and encouraging everyone to scale together, we can achieve dazzling, sustainable results."
Siren has been a part of Sacramento's art scene since 2008. During that time, she's led the Sizzling Siren Burlesque Experience, a troupe she created after moving to Sacramento in 2007. That night, many of the dancers from the troupe, as well as from the Darling Clementines and artists from other non-burlesque scenes, came out and did individual and/or collaborative pieces. Burlesque was the primary focus, but overall it was a diverse night of entertainment.
This premiere pop-up served two purposes. It gave folks a sneak peak of what The Siren venue might be like and how it could provide Sacramento a larger, more consistent stage for the alternative artists who are already here, anxiously awaiting the opportunity to perform for people. Siren hopes it will open sometime next year. It also gives people a chance to get involved on the ground level.
Pop-ups will continue in random locations, as well as a regular spot at The Sofia every third Saturday.
"This isn't New York City, this isn't even San Francisco. Sacramento is a unique and special place," Siren says. "One thing that will be a constant in all of the events is an element of direct audience engagement. I think everybody in that room walked away understanding that something is happening. If they come back to the next event, and they talked to a friend about it and bring them to the next show, then we're winning."
More Arts&Culture » Arts & Culture
When the motherland calls
As the U.S. pulls out of world affairs, an SN&R columnist looks back on improving education in her birth country.
Death's a party
At monthly mortuary gatherings, Grass Valley duo the Posy-Filled Pockets encourage mortals to look forward to their last breath.
The stories we share
For Hmong Americans, patchwork and embroidery are keys to preserving history and documenting the future.
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Latin percussionist Sheila E. delivers a political dance record inspired by the '60s, relevant today.


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Share this Story: Alberta MLAs sworn in: 'Great things to come'
Alberta Travel
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Alberta MLAs sworn in: 'Great things to come'
Matt Dykstra
Jun 01, 2015 • June 2, 2015 • 2 minute read
Edmonton-Calder MLA David Eggen waves to the gallery as members of the NDP caucus prepare to be sworn-in at the Alberta Legislature, in Edmonton Alta. on Monday June 1, 2015. David Bloom/Edmonton Sun/Postmedia Network
Edmonton-Ellerslie MLA Rod Loyola (left) and members of the NDP caucus are sworn-in at the Alberta Legislature, in Edmonton Alta. on Monday June 1, 2015. David Bloom/Edmonton Sun/Postmedia Network
Calgary-Fort MLA Joe Ceci and members of the NDP caucus are sworn-in at the Alberta Legislature, in Edmonton Alta. on Monday June 1, 2015. David Bloom/Edmonton Sun/Postmedia Network
Premier Rachel Notley (left) checks out Calgary-Shaw MLA Graham D. Sucha's kilt as members of the NDP caucus are sworn-in at the Alberta Legislature, in Edmonton Alta. on Monday June 1, 2015. David Bloom/Edmonton Sun/Postmedia Network
Chestermere-Rocky View MLA Leela Sharon Aheer and members of the Wildrose caucus are sworn-in at the Alberta Legislature, in Edmonton Alta. on Monday June 1, 2015. David Bloom/Edmonton Sun/Postmedia Network
Lesser Slave Lake MLA Danielle Larivee and members of the NDP caucus are sworn-in at the Alberta Legislature, in Edmonton Alta. on Monday June 1, 2015. David Bloom/Edmonton Sun/Postmedia Network
Wildrose leader Brian Michael Jean (MLA for Fort McMurray-Conklin hugs Airdrie MLA Angela Pitt, as members of the Wildrose caucus are sworn-in at the Alberta Legislature, in Edmonton Alta. on Monday June 1, 2015. David Bloom/Edmonton Sun/Postmedia Network
Wildrose leader Brian Michael Jean (MLA for Fort McMurray-Conklin) receives his mace pin from Speaker of the Alberta Legislative Assembly Gene Zwozdesky, as members of the Wildrose caucus are sworn-in at the Alberta Legislature, in Edmonton Alta. on Monday June 1, 2015. David Bloom/Edmonton Sun/Postmedia Network
Calgary-West Mike Ellis MLA waves to the gallery as members of the PC caucus are sworn-in at the Alberta Legislature, in Edmonton Alta. on Monday June 1, 2015. David Bloom/Edmonton Sun/Postmedia Network
Speaker of the Alberta Legislative Assembly Gene Zwozdesky receives a standing ovation after members of the PC caucus are sworn-in at the Alberta Legislature, in Edmonton Alta. on Monday June 1, 2015. David Bloom/Edmonton Sun/Postmedia Network
PC leader Ric McIver (MLA for Calgary-Hays ) hugs Calgary-Lougheed MLA Dave Rodney as members of the PC caucus are sworn-in at the Alberta Legislature, in Edmonton Alta. on Monday June 1, 2015. David Bloom/Edmonton Sun/Postmedia Network
Follow along with @sunmattdykstra as Alberta's MLAs are sworn in today. The province is streaming it, as well.
Here's a mobile version of the ScribbleLive
Promising "great things to come", Alberta's fresh-faced NDP MLAs were sworn-in at the legislature on Monday.
Family and friends packed the visitors gallery inside the Alberta Legislature chamber as the NDP government's 52 MLAs, including new Premier Rachel Notley, were sworn-in by Alberta Chief Justice Catherine Fraser and received their MLA mace pins from Speaker Gene Zwozdesky. A whopping 48 NDP MLAs took the oath for the first time.
"This is without question the longest swearing-in ceremony that I've ever been in," joked Notley.
The government bench is so large that two seats spill over onto the opposition side of the house. Winning one of two NDP seats in 2008, Notley joked that "being the two lonely naysayers in the corner is an honourable tradition."
"It means there are great things to come," she said. "The new members of your legislative assembly embody hope and optimism and they bring rich and diverse experiences of Alberta life to this building."
Notley hugged each of her MLAs in turn as they swore the oath of office. Medicine Hat MLA Bob Wanner even planted a kiss on Notley's cheek. Calgary-Shaw MLA Graham Sucha wore a kilt to the ceremony. An emotional Zwozdesky, who will be replaced as Speaker in a vote next week, received a standing ovation from the government benches.
Edmonton-South West MLA Thomas Dang, the youngest MLA at 20-years-old, called the ceremony "exciting."
"This is real. We're MLAs now. We're going to be able to make this change and bring this positive energy to Alberta."
Education Minister David Eggen said it was "fantastic" to see the NDP majority fully assembled for the first time.
"This is the muscle and the bone that makes the new government of Alberta," he said. "It's very exciting."
Finance Minister Joe Ceci said he was "very grateful" to be sworn-in, noting that only 902 Albertans have ever shared that privilege. Infrastructure and Transportation Minister Brian Mason said it was a "nice feeling" to sit in the government benches, noting the NDP has many young politicians.
"They're bright, they're committed and we're going to do our best to help them become first rate MLAs," he said.
It was a bit of a self-fulfilling prophecy for Municipal Affairs Minister Deron Bilous, who said he told the Progressive Conservatives in 2012 that the NDP would be seizing the government benches one day.
"Of course, their response was they laughed," said Bilous, adding the New Democrats can learn from the PCs mistakes.
"It's naive if a party or person thinks they'll always be in government or on one side of the house... I think there were members from the PC party who forgot about where they came from really, who's responsible to whom."
"At the end of the day, nobody is here forever."
matthew.dykstra@sunmedia.ca
@SunMattDykstra
10 a.m. NDP - 52 caucus members
1 p.m. Wildrose - 21
2:30 p.m. PC - 9
Alberta Party - 1*
Liberal - 1*
Independent - 1*
Vacant - 1
* to be sworn in at the Office of the Lieutenant Governor. Not open to media.
Alberta MLAs sworn in: 'Great things to come' Back to video
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Future Shock 3.0
Peter Jones March 5, 2012 Strategic Foresight, Strategic Innovation, Transformation Design
(Or is it just in the spirit of Global Future Day, March 1st? Not the best day to have chosen IMO.) Future Shock 1.0 foresaw the 1970's oil and geo-political shocks, and let's say 2.0 was pre-millennial fear. Future Shock 3.0 rains down upon our culture – as hopeful optimism. Over-optimism is what they call a "top signal" in long-wave investing (such as the Home Sweet Home Time cover at the top of the housing bubble). I'm not saying optimism is misplaced, its actually a positive social force. But in today's scenarios triumphal techno-optimism is the white steed that saves us from ourselves. That has never worked out well.
In just the last week we have seen the launch and promotion of several new future scenario presentations for the purposes of inspiring imaginative alternatives for socially relevant innovation. Today's future scenarios are often collaboratively generated, generally reflecting positive visions of possibility and emotional hope.
From a socionomic perspective, the arrival of these several planned "positive future" deliberations all at once instead indicates that there's a strong "Fear of the Future" mood being addressed by these narratives. The lack of political and structural alternatives may now be so apparent, that even non-futurists (see below) are now compelled to create scenarios and hope for the best. A recent post on FutureJacked refers to the contrary indicators that accompany a peak:
… cultural signs continue to abound that we are topping out in terms of optimism. Grasping at icons that bring back the fond memories of earlier positive mood eras, people have flocked to Whitney Houston, after her death, Madonna got scheduled for the SuperBowl and the Material Girl, along with the Beach Boys, are going back on tour:
Not to mention the Dow Jones hitting the psychologically important level of 13,000 last week. (OK, not so much today). So what's in the futures portfolio?
The Future We Deserve was just launched, curated by two spot-on UK foresight / strategists, Vinay Gupta and Noah Raford. Many of the 100 stories here are informal and some sketchy, but they co-created this awesome collection in 100 days! Given the themes and interests, it seems more European than North American (as the editors are), and many of the essays are intellectual, cited, and some mystical or deeply abstract. These were curated via Twitter largely, and my experience with social media suggests that people avoid the hard edges of reality in favor of optimistic declarations. Its a dizzying collection and it will take some time to review and really read it. What's missing is How To. There's an avoidance of pathways TO the futures we deserve.
TED has gone so futuristic that today's TED's aren't enough anymore. TED of the Future includes the now-famous Prometheus video from TED 2032 (spoiler alert, Technology Saved Us!). Be sure to see the just-released TED award for the City of the Future project.
And there was Imagining the Internet, a project between Pew Trust and undergraduates from Elon in North Carolina ("Predictions!").
And the last Wharton newsletter presented a decent banking foresight piece: Global Banking 2020: Foresight & Insights. In this new eBook, Wharton faculty, members of Ernst & Young's Global Banking and Capital Markets practice, and global bankers explore scenarios for the future of banking and what strategies global bank executives should adopt now to prosper over the next 10 years. http://knowledge.wharton.upenn.edu/weblink/966.cfm
What I am seeing in these launches are creative responses to our manifold uncertainties, risks, and social fears by creating visions that orient people toward hope and positive alternatives. While these are all attempts to harness attention toward the positive, what I do not see (anywhere) are plans for political action, implementation, or execution. As with any participatory envisioning, generation is the easy part. I wouldn't be such a curmudgeon but I've been around for a while, and I've not seen a global crisis like we're facing today before. We need short-term vision and pathways to action more than ever before. How do people want to act toward achieving these visions?
Or is the purpose always to inspire people (often those in the same audience) to consider the many possibilities other than those extrapolated by the obvious mess the developed nations have created for themselves?
Where does foresight end? Recall that in the 1960's Buckminster Fuller saw worlds far beyond any of these listed projects. And he built things, he built nearly anything he could get funded (although he never did finish Old Man River City, the East St Louis city of the future.)
Insufficient vision, or foresight narrative is not our weak hand. We are all creating compelling visions for better futures. Foresight management is our blind spot. We are uniquely lacking in innovative planning and implementation strategy given the challenges of our time. In my view, our reliance on social media has encouraged this strategy of lightweight participation by expressive points of view, and the inability to lead locally beyond the stage of vision. All of our popular participatory techniques these days are generative, visionary, and divergent (e.g., more brainstorming than action planning).
As a society at large, we seem to be mired in conventional organizational perspectives that prevent our reaching escape velocity with comprehensive scenarios. The social and political organizing required to move beyond vision appears beyond our crowdsourcing and socially-mediated grasp. It seems to me the truly positive, ethical, radical and – improbable – horizon of possibility is generating commitment, not just vision.
We have experience and world-class methods that reliably achieve consensus in social systems to organize stakeholder commitment. The next missing step then is the courage and ambition to reach through the benign neglect, the cynical stalling, the aligned interests in current economies, and to help stakeholders move forward on a chosen strategic path that best reaches our societal, human, and developmental visions.


We turn to magazines to tell us whether we're "good-girl hot or bad-girl hot," which star wore that hideous gold sequin dress better, and that Brad Pitt was spotted picking up his dog's poop with a Wal-Mart bag this weekend. Between mainstream mags like Cosmopolitan and GQ, readers have enough kama sutra positions to last well into menopause, but if you're looking for something off the beaten path — a little more informative and a lot more design-savvy – check out these magazines.
1. i-D is a monthly print magazine covering fashion and contemporary culture. The stories and interviews delve pretty deep and reveal a more captivating writing style than that found in your everyday Seventeen. Not to mention, the pages are a designer and photographer's dreamland.
2. Like many mainstream entertainment mags, Paste covers music, movie and television – the difference is, you'll be seeing interviews with Wilco, Benjamin Gibbard and she & him instead of Rihanna and Channing Tatum. The magazine is online-only these days, but it's still just as good.
3. If you're looking for a magazine you can look at for half an hour, throw in the trash and never think of again, this isn't it. The guys at FOUND magazine collect, well, findings: love letters, ticket stubs, napkin poetry. It's basically just a collection of "found stuff" slapped on matte pages for the world to see, but it offers a look into others' lives that is impossible to dismiss. It doesn't come out often (I'm talking once every year or two, MAYBE), but when it does, it's well worth it.
4. Wooden Toy Quarterly is seriously indie. Covering contemporary culture and art, this magazine is really a work of art in itself (spend five minutes on their website and you'll see what I mean). The features and interviews are entertaining and refreshingly unique.
5. Probably the least "unpopular" of the above-mentioned, Sunset magazine delivers a good variety of topics in a clean, functional layout. It emphasizes travel destinations, neat architecture, good food and design – kind of like a Pinterest you can touch (subtract the hair-curling tutorials and girls in boots and leggings).
Next Post: Why Do I Have To Write A Cover Letter?


We are delighted to present our first ever Traffic Light Party. This will be a wonderful opportunity to mingle with like minded Tamil professionals in the UK.
Choose the colour of your bracelet to reflect your relationship status, meet new people and party in style at Megaro on Friday 1st September from 9.30 till 2am.
Amber: I'm here to enjoy the music!
The event will take place at the Megaro Bar in London. This luxurious Cocktail Bar in King's Cross is the perfect venue to sit back and immerse yourself in the sophisticated ambience as the mixologists craft house specialty and classic cocktails from the finest barrel aged blends.
DJ Serg Pyro from CaptivateUK will be on the decks, spinning a selection of Old skool RnB, Hip hop, House with a hint of popular Tamil beats.
The event is strictly for guests 25 & over.


My wife and I took my 4-year-old son to a children's theater this weekend to watch a live presentation of Robin Hood (rob from the rich, give to the poor). The mother of one of my young son's playmates said she is ready to go on a long-planned vacation. I asked where she does her banking. Her answer: Downey Savings and Washington Mutual (WAMU).
Good God, Downey savings is at the top of the list of banks predicted to fold and Washington Mutual is burdened with the prospect that many of its customers with adjustable rate mortgages, which will be re-set in the coming months, won't be able to make their monthly mortgage payments. Most of my friends and acquaintances are oblivious to what is going on in America.
What IS going on is approximately 600 billion dollars' worth of subprime adjustable rate mortgages (ARMs) will go through rate-resetting between now and the end of 2008. About 15% of these ARMs are predicted to default, representing $75 billion of mortgages that banks will have as non-performing loans on their books, which will be reflected in their quarterly earnings reports. The stock price of these banks will then tumble and depositors will run to withdraw their funds from checking and savings accounts. Since most banks have no more than 10% of their depositors' funds in cash (the rest has been loaned out), even a small run on the bank could leave a bank with no cash.
When the FDIC becomes insolvent, now what?
So what happens if nearly every bank in America is calling on the Federal Deposit Insurance Company (FDIC) to bail them out at the same time?
The FDIC, which insures your bank deposits, sees the handwriting on the wall. It doesn't have enough funds ($52.8 billion) in reserve to cover trillions of dollars in bank deposits. According to Wikipedia, as of June 2008 the FDIC insures 8471 banking institutions with total deposits of $8.575 trillion (March 31, 2008 deposit figures).
The IndyMac bank failure will swallow up $4—8 billion of the FDIC's treasure chest and there are 300 other banks at risk of failure that represent another $26.8 billion of deposits the FDIC has to ensure. The failure of a large bank, like WAMU ($160 billion in deposits, with only $15 billion in cash reserves), would totally deplete the FDIC insurance fund by itself.
Sheila Bair, FDIC chairwoman, trying to head off an unprecedented banking disaster, is calling for banks to take all homes covered in ARMS right now and freeze the rates/and or convert them to a fixed rate product.
Hutchinson also points out that Fannie Mae and Freddie Mac, the two institutions that are supposed to guarantee home mortgages, require a bailout that prompted the Federal Reserve chairman to offer them a temporary lifeline — access to the discount window at the Fed, which supplies the nation with money.
Freddie Mac seeks $5.5 billion of outside capital, but who would put money into this sinking ship? The American public is being asked to provide $100 billion to bail out Freddie and Fannie, which means you as a citizen are now bailing out other people's bad loans!
The life ring thrown to Freddie and Fannie by the Federal Reserve is only temporary. Congress must now vote on proposed legislation that would throw the burden of this whole mess upon the taxpayers. Recognize Freddie and Fannie own or guarantee nearly half of the nation's $12 trillion in mortgages. A bigger crisis lies ahead, say the experts. Freddie and Fannie will be back in the headlines later this year. This means a giant implosion is only being delayed.
Why should taxpayers bail out Freddie and Fannie?
Hutchinson says "There can be no economic justification for the government guaranteeing the great majority of the nation's home mortgages, and the spurious u2018government-sponsored enterprise' structure of Fannie and Freddie merely hides the likely consequences of their default."
Hutchinson goes on to say: "Fannie and Freddie do not represent the entire US finance sector, far from it. Nevertheless their insolvency would further erode confidence in the rest of the sector, very likely leading to a cascade of death spirals among other institutions. After all, the best-run large non-global US bank, Wachovia, has itself got in trouble by its insanely foolish acquisition of the California mortgage lender Golden West Financial at the peak of the market in 2006, while Bank of America, the largest retail-oriented US bank, voluntarily took on more of the mess by its purchase of the diseased and probably criminal Countrywide Financial as recently as last January."
Says Hutchinson: "Thus a total collapse of the US financial system, while not inevitable, is a contingency which should now be planned for."
Harry Koza, senior Canadian markets analyst at Thomson Financial, says the IndyMac bank failure has "barely got any news coverage outside of California papers." (IndyMac bank run: a sign of things to come? Globe and Mail, July 18, 2008) Is the news media intentionally blacking out the IndyMac bank failure to areas outside of California?
It is obvious that any censorship is an attempt to calm the public from running to pull their money out of their accounts.
Oh, the news media has broken ranks to publish what is called "The Texas ratio," which is a measure that fairly accurately predicts whether a bank will fail. The "Texas ratio," coined from a tool used to predict bank failures in Texas banks in the 1980s, is calculated by dividing the value of a lender's non-performing leans by the sum of its tangible equity capital and loan loss reserves.
A few smaller banks made it on this list in what appears to be an effort to wipe out the small banks while the larger banks grab market share. What's the Texas ratio for large banks like Wachovia, WAMU, etc?
IndyMac Bancorp Inc argued its "Texas ratio" had been unfairly calculated (it was around 140%, anything over 100 is a predictable collapse of the bank). So the Texas Ratio accurately predicted the IndyMac collapse.
Using data gleaned from Wachovia's Quarterly SEC 10-Q filing, ending March 2008, shows a Texas Ratio of 78%, which is down from 84% last quarter, but these are dated figures now, and their loan loss reserves declined, and most of their ARM loans are now being readjusted upwards, so anticipate many non-performing mortgage loans at Wachovia.
Nobody has uttered a word about this, but if the prospect of insolvency is pointed at smaller banks, and leaks of such information prompts the public to run and demand withdrawal of their funds from these institutions, the depositors will likely take their money and open accounts at bigger and seemingly safer banks. The FDIC has sufficient funds (~$53 billion) to cover the deposits at these small banks should they become insolvent, and this would infuse billions into the banking giants.
This appears to be what is happening by the leak of a list of smaller local and regional banks at the top of the "Texas Ratio" list and the indiscretion by Senator Charles Schumer (NY), member of the Senate Banking Committee, who publicly disclosed to the news press a letter he wrote to regulators about the financial status of IndyMac Bancorp, which resulted in a run on that bank's deposits.
The banking industry is walking on pins and needles, hoping the bad news doesn't become a self-fulfilling prophecy that drives bank depositors to demand withdrawal of funds en masse. Try to withdraw $10,000 from your bank today and you are likely to be told you can only withdraw $5000 at a time.
The banks know. The news media knows. The FDIC knows. The Federal Reserve knows. But DO YOU know? There is a high likelihood the American banking system will fail, and you will likely be the last to know. The more panicked you get, and withdraw funds, the worse the implosion. In an effort to avert runs on the banks, will the news media delay informing the public of the current dire situation, which appears to be an inevitable system-wide banking collapse?
So, while your bank still has money and can process your checks, it may be time to pay down debts, pay quarterly taxes and mortgage payments in advance, and think of having money outside of banks (gold, foreign currencies), etc., before your money is inaccessible or even evaporates!
Don't think all your investments outside of banks are immune from all this turmoil. For example, money market mutual funds, where Americans have invested $3 trillion, are not covered by FDIC insurance (however, money market accounts offered by banks are covered). Recent losses in some of these money market mutual funds have caused some companies to rush to plug the losses. For example, Legg Mason Inc. and SunTrust Banks Inc., recently pumped $1.4 billion each into its money market funds. Bank of America Corp. has injected $600 million.
As for your checking and savings accounts, recognize you may have five different accounts in the same bank, but the FDIC only insures individuals, not each account, up to $100,000. Putting your money in different accounts in the same bank does not necessarily provide better insurance for your deposits.
Kathy M. Kristof of the Los Angeles Times offers a simplified explanation of what the FDIC does cover: "Knowing your insurance limits on bank accounts is key," Los Angeles Times, July 20, 2008.
Ideally, find a bank that does not have any adjustable rate mortgages on its books, like Union Bank of California (in the top 25 U.S. banks, has over 334 branches in California, Oregon and Washington).
Recognize, when you deposit money in a bank you agree to allow the bank to use most of it to loan to others and only keep 10% of your money on hand for withdrawal. Banks operate on the supposition depositors won't all need their accounts turned into cash withdrawals at the same time.
Will we ever address the underlying cause?


Crane & Co., famous for their 100% cotton papers, introduced this campaign for a new, 25% cotton paper of the highest standard. The message "Less is more", expressed typographically in words and mathematical symbols, is at the center of this comprehensive launch. Mailers, a swatchbook, sample kits, folders and promotional materials were designed with great variety, to demonstrate that the lower cotton content of the new paper did not represent a reduction of quality, but rather an increase of choices and possibilities for today's designers. The project included conceiving the name "Crane's Choice" and the tagline "25% Cotton, 100% Crane".


text:
Q: update assignment applied to set vs row I was trying to randomly update stateid in [address], so i started with this query
update [address]
set stateid = (select top 1 id
               from lookupvalue
               where lookuptypeid = 3 and code = 1
               order by newid()),
    countryid = 1

select *
from [address]

but as it appears, all the rows get the same value, when I tried referencing [address] table from the inner select query, the update is ran per row (and I got the desired effect).
update [address]
set stateid = (select top 1 id
               from lookupvalue
               where lookuptypeid = 3 and [address].id = [address].id
                 and code = 1
               order by newid()),
    countryid = 1

select *
from [address]

Can someone elaborate on the above behavior, is it related to query plan, do I have to make a dummy reference in the inner select to force the update assignment to be evaluated per row?

A: Yes, it is related to the query plan. SQL Server (and other databases too) see the subquery and decide that it can be optimized away. I consider this an error because newid() is a volatile function, so the subquery cannot be optimized away. But, there are arguments on the other side as well.
Putting in the outer reference fixes the problem, so you know how to get around this "optimization".

A: To evaluate result per row you can also use CROSS APPLY

redpajama_set_name: RedPajamaStackExchange


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Yi Lin and his wife, Molly Xi, in their new home in Manhattan. Under a federal program known as EB-5, they received green cards in exchange for their investment in a Miami real estate project.
While Ms. Zhao's father has remained in Beijing, her mother joined her in the United States and is now renting a studio on Roosevelt Island and studying English. Investing in real estate projects in exchange for legal immigration status has become big business in New York City. Through a federal visa program known as EB-5, foreigners, more than 80 percent of them from China, are investing billions of dollars in hotels, condominiums, office towers and public/private works in the hope it will result in green cards. Twelve-hundred foreigners have poured $600 million into projects at Hudson Yards; 1,154 have invested $577 million in Pacific Park Brooklyn, the development formerly known as Atlantic Yards; and 500 have put $250 million into the Four Seasons hotel and condominium in the financial district. The list of projects involving EB-5 investments also includes the International Gem Tower on West 47th Street and the New York Wheel on Staten Island.
Under the federal program, a foreigner who invests $500,000 ― and in some instances, $1 million ― in a project that will create at least 10 jobs can apply for a green card. It generally takes from 22 to 26 months to obtain legal residency through the program, as opposed to several years for other visa programs.
In the last four years, the program's popularity has surged. In fiscal year 2010, 1,885 visas were issued. But by fiscal year 2013 that figure jumped 354 percent to 8,564, according to government data. Last year, the entire annual allotment of 10,000 visas had been claimed by August ― before the end of the fiscal year in October.
Numbers are hard to come by, but in fiscal year 2013, the most recent year available, investment through the visa program totaled $379 million in New York State, according to data from Invest in the USA, an industry trade organization for the EB-5 program. That is 19 percent of the total investment in the program, second only to California, which makes up 22 percent. This is a major increase from previous years. Investment in New York State for fiscal years 2010 and 2011 combined only came to $327 million. These numbers are low because the data lags, and do not include some of the more recent large-scale projects, like Hudson Yards.


Discussion in 'sandboxing & virtualization' started by Arcanez, Feb 25, 2012.
Sometimes Sandboxie does not empty the sandbox although all programs have been closed that ran inside that sandbox. The reason is that the explorer.exe process for that particular sandbox still runs in memory instead of closing itself. If you close explorer.exe manually sandboxie will empty the sandbox like intended. It's not a big deal actually but I wonder why the explorer.exe process still runs in memory although you don't have any windows opened regarding that sandbox. For me it seems that explorer.exe hangs at that time still running in memory but doing nothing actually. So I think this is not an issue caused by sandboxie. Anyone else noticed that issue?
In case it it related, similar.
Sometimes Sandboxie does not empty the sandbox although all programs have been closed that ran inside that sandbox.
The reason is that the explorer.exe process for that particular sandbox still runs in memory instead of closing itself. If you close explorer.exe manually sandboxie will empty the sandbox like intended.
I simply always take a look at the tray icon of Sandboxie if the red dots on the yellow ground actually disappear when closing the sandbox (which in my configuration should lead to the automatical emptying of the sandbox). When it does not work (only in rare cases, as mentioned above), I empty the sandbox manually.
Wouldn't adding explorer.exe to 'Lingering Programs' for the sandbox in question be a workaround here?
Whenever this happens, doing a reboot takes care of it as the sandbox deletes easily afterward. Sometimes this happens because files inside the sandbox are being used or accessed by other programs, like for example, a antivirus scanning inside the sandbox.


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The MBTA this afternoon posted its anticipated service schedule in advance of a significant storm that's expected to arrive tonight. Unlike during the "great" Blizzard of 1978, Hull's commuter-boat service will not run tomorrow.
Longtime veterans of Hull's water transport system are fond of bragging how they survived the boat run from Boston to Hull during the February 1978 snowstorm by which all successor blizzards have been measured.
Back then, the service was run by a private company. Now it's operated by the MBTA and, for better or worse, those who make the decision whether the boat ought to run are far more circumspect.
In advance of tomorrow's severe winter weather event, the MBTA has announced its service schedule for Thursday, January 4.
According to the National Weather Service, approximately 8 to 12 inches of snow are expected across the MBTA system tomorrow with sustained winds of 35 mph and more and gusts as high as 65 mph in some areas.
The MBTA will operate regular weekday service on the Red, Orange, Blue, and Green Lines. The Mattapan Trolley Line will be replaced with dedicated shuttle buses, servicing all stations. As delays and other service changes may occur, customers are urged to connect with the MBTA by visiting the MBTA website, signing up for and checking T-Alerts, downloading the Transit app, and following the T on Twitter @MBTA as well as the commuter rail at @MBTA_CR.
Regular bus service will operate, though delays may occur and buses that have "Snow Routes" will operate on their designated Snow Route. To find a list of buses with Snow Routes, customers are urged to visit www.mbta.com/winter.
The MBTA Commuter Rail will operate a reduced schedule in which some trains will not operate. Online schedules and schedules available within the commuter rail app will be updated to only show trains that operate during a reduced schedule. Trains shaded in yellow on printed schedules will not operate. Express trains may make local stops as necessary.
Ferry services will not operate on Thursday, January 4.
Since 2015, the MBTA has invested over $100 million to harden vehicles and core infrastructure including track, switches, power systems, and signals; developed a multidisciplinary approach when responding to disruptions in service using teams with the skillsets, materials, and equipment to address a wide variety of potential issues and scenarios; and contracted with vendors for snow clearing along key bus routes and T facility/employee parking, freeing up T personnel to concentrate on core system functions.
Emergency crews comprised of multiple disciplines are on standby to respond to instances of broken rail, issues affecting the power systems, and potential switch problems. These teams are staffed and equipped to respond to a range of issues in order to expedite repairs. Power crews will continue to inspect overhead wires on the Blue and Green Lines, looking for ice buildup. Ice cutters have been installed on vehicles to remove ice buildup on catenary wires on the Blue and Green Lines. Overnight, trains will be stored in tunnels to protect against sustained sub-freezing temperatures; trains that cannot be stored overnight will be exercised to prevent or detect icing up of doors, brakes, and propulsion systems.


I have a pretty good handle on what makes this one work for me, and it's tied into why I don't like any of the recordings I have. It's a little hard to find a performance that's done in a flowing style, because most of the choirs I've seen are taking care to be precise, take it too fast, or have a wretched canned soft rock beat. You can dig up a decent boy choir or SATB version, such as the St. Phillips Boy Choir (aka Libera).
This is all about suspensions. Going by the melody itself you hardly need to change chords at all–"For the beauty of the earth; for the beauty of the skies; for the love which from our" all fit on the tonic chord. But instead Rutter defines chords with a descending figure over a root pedal point: I – V/I – IV/I – I, putting a suspension decoration on the last I. Then in the two repetitions of the phrase "Over and around us lies," the melody is a figure on major seconds that must inevitably suspend against any given triad.
In the chorus, "Lord of all, to thee", on "thee", we go from a I chord to a suspended I chord (dominant 9 with a suspended 4), to an inverted IV with a suspended 2. The final phrase, "This our joyful hymn," is a 4-3 suspension, a step on the root, and a 6-5 suspension, all over a second inversion I chord that resolves to a Vsus4, then to a Isus2 and back into his descending figure over a pedal point.
He just never lets you enjoy a simple chord without overlaying either its predecessor or its successor. That works with the legato melody, the sequentially arpeggiated accompaniment, and sustained harmony lines to establish a continuous smooth flow. So the secret here is that it isn't the melody but the arrangement that makes this one.
"I can't improvise on the melody without knowing the lyrics first." — Ben Webster.
Here's the thing: most of these standards we play have lyrics, and that's an integral part of the song that you don't get from a horn. That means you have the opportunity to say something different, perhaps something beyond vocal language, but it also means that a melody from a good songwriting team is crafted to the lyrics. Maybe the music says the same thing as the words, but you can't count on everybody getting the full message that way. Maybe it just provides a context, but that means you have to communicate the message. Maybe the audience knows the words, and you just have to play the head in a way that doesn't interfere with their recollection of the lyrics.
I'm staying on the theme, and I'm thinking in terms of imagery and sentence structure but not rhyme. Melodic rhyme is not quite the same as language rhyme. It's actually more like rhyming in sign language, which is based on visual symmetry.
As with many other techniques, most people aren't going to be getting every literal thought. Not everything in my head gets communicated with perfect clarity, and frankly I'm grateful for that. Still, you know whether you've heard someone recite a poem or just ramble at the microphone, and that's the difference I'm cultivating here.
There are practical applications as well, especially for a directional instrument like trumpet. I've managed, in the middle of a solo, to communicate to a waiter that he should leave that drink where it is because it's mine and I'm not done with it. Hey! You! Walk away, fella! 's cool.
OK, I'm not actually going to pick a song and say it's the most beautiful; but if I asked someone else that question and they answered Nessun Dorma, I'd accept that as a defensible choice.
Nessun Dorma is the tenor aria from Turandot reawakened in public attention a few years ago by Paul Potts on Britain's Got Talent and earlier by Pavarotti at the 1990 World Cup. Everybody's sung it. I'm not going for a definitive analysis of a well-studied aria; I'm calling attention to some points that I'll reference later in connection with other songs that I'd entertain as good answers to the question.
What is it that makes the key parts of this song so wonderful? When you break down the melody itself, it's mostly simple. Most listeners don't speak Italian. It's usually heard out of context. After eliminating all that, I'm left with the use of the tenor voice, the orchestral accompaniment, and a few meager thoughts on the melody.
It's all about the shape of the phrases. Ignoring the words, plot and characters from the opera, I'd conclude it was a song about climbing, reaching, holding, standing. The first part–the A section, if you will–has the tenor pushing to the major seventh ("o, Principessa"; "guardi le stelle"). Then in the more recognizable B section, it's a rising and falling scalar figure. What makes it work for me is the motion to inversions in the bass, which along with strings doubling the melody manages to suggest parallel sixths that aren't really there ("Ma il mio mistero è chiuso in me, il nome mio nessun saprà!") culminating in an opposing figure that takes the V chord to a first inversion of the (momentary) tonic with the melody holding on the high fifth ("sulla tua bocca"). It's just a ii-V7-I, no extensions to the chords and hardly a passing tone to be found; but I could name that tune in one note if it was that note, and I wouldn't even confuse it with Mussorgsky's "Great Gate of Kiev" (which sits itself characteristically on that same inversion).
However, I can pick out three specific chord-melody interactions that I think are important, and I'll make it a little more clear why in later posts on other melodies. In order of impact, at the end of the B section, it resolves not to the tonic but to the subdominant (applying those terms as if the piece were in D rather than G) ; in the A section, there's a substitution very like a jazz altered dominant 7; and near the end of the B section where the melody is a simple descending D major arpeggio, it changes to the Gmaj7 on the F#.
The change from first inversion D to Gmaj7 is simply letting the leading tone in the bass drive the chord change. The altered substitution uses an F# against the D in the melody to suggest the V, has a Bb to suggest the minor–I'd almost call it a blue note–and puts an Eb in the bass. An altered D would be D-F#-Bb-C-F, and here we have D-F#-Bb-C-Eb; with the Eb and Bb in the bass, it sounds like an extended Eb minor, and it's essentially a G harmonic minor scale, but it fills the role of a D7. The resolution to G is a continuation from the inversion: D/F# – Gmaj7 – D/A – A, and to G instead of D; that's followed by the altered chord at the top of the A section, which re-establishes G as the key.
Enough armchair analysis; what do I take from it? First, that one way to get a strong circular motion between an A and B section is to have a bimodal key center in fourths. Second, that if you go from the tonic to another chord and back again, with most of the time on the tonic, that transition chord–whatever it may be–can be substituted for the dominant elsewhere in the piece. Third, that the melody doesn't have to dictate the chord changes, especially when the bass has good ideas on where to go.
I'm sure it's possible to be over-rehearsed, but it isn't something I experience regularly.
In a Real Book group, it's far from uncommon to be ten seconds before downbeat and get a quick rundown: "Last four, take the coda. Two, three, four…" Some decisions are made in-flight, such as who is going to play the head and whether the bass will take a solo. That's good, because jazz is in the moment.
We can do more than that. We have a rudimentary language that allows us to use hand signals or even lip-reading, and for that matter we can actually talk (wind players when not playing, rhythm players most any time), though we don't much. So in a group that's been playing together for a long time, I can raise an eyebrow and find out if we're splitting the head AA/BA. A nod from the piano player can mean "another chorus" or several other things depending on context. It's hip, dig?
Even when we are following the standard form, as trumpet player I spend a lot of time not actively playing, so I go ahead and double-check. We generally end solos with a physical turn to the next person, and something I learned from theatre is to step out of the way and focus my gaze on the person playing to direct the audience's attention where it should be. I look at the next person during each solo, wait for them to look up, and get visual confirmation. When I get a signal I make eye contact with the others to be sure we all go there together. There's a whole different set of signals for communicating with the sound man ("The singer two people to my left needs to be higher in the center monitor").
The other thing I do with my eyes is watch other people play. This has a number of uses, including but not limited to learning new licks, enjoying the show, checking where we are in the changes, and realizing that my copy of the music is in the wrong key. It's good to memorize music and/or play by ear. I mean, with all this going on, when do I have time to look at my stand?
Why not just play the melody?
Well, your audience has heard it. Sure, they like to hear it again, but that's what the head is for. You can develop a solo off the melody. However, there are a lot of jazz players in the world; other musicians and the audience as well have heard that too.
If you follow what people in the examples did by starting with the melody and developing from there, when you go to an open jam you probably want to go straight to the fourth or fifth chorus, skipping the first few on the assumption that everyone there has already covered that ground.
However, after years of this, you start to think in terms of larger and larger musical sentences. The truth is, there are only so many classes of motifs, and eventually everything is going to remind you of some combination of things you've heard before. Just as a child progresses from syllables to words to clichés to forms, a longtime jazz player is interested more in when you say something than what you say, how you construct the sentence more than what words you use. OK, you played a fast scale; it might or might not be particularly impressive from a technical perspective, and it's neither good nor bad that we've all heard it before; the question is, what does it mean at that point in the song, over that chord, after what you just played–and what are you going to play next that might expand its meaning?
Try it first by quoting other songs during your solos. It's cute, but what's the difference between a random phrase and something that makes the audience laugh?
One of the challenges of playing in multiple combos is being able to blend well in each. Even in one group, it can vary: it's common for sax players to switch between alto and tenor and flute, for example, and the horn section in Play It With Moxie! changes lineup on every song.
Also, although we're usually playing standards and often the same arrangements, each player learned it a little differently or takes different liberties with the rhythm. When you rehearse weekly, you have the luxury of getting familiar with the other person's patterns. Otherwise, you probably won't match exactly on unison or harmony parts (as in the quintet's Comcast videos). You can finesse it a lot more easily on harmony than in unison.
Harmony is a lot more forgiving for intonation as well. Every instrument has its bad notes, and they're not the same. I know I have to be careful of low D and C# and middle A and high F, etc., and I know a few of the evil notes on other instruments. Sure, you can say that a good player will play in tune, but that goes out the window when there's an HVAC vent right above you.
My favorite part of blending in combos is mixing different tonal colors. When playing with a flute, I usually use a cup mute, specifically a wood one (makes sense, right?). There are some exceptions–the popular version of "Cape Verdean Blues" was flute and open trumpet, and "Lorraine" often is flute and harmon mute. Also, I stay in close harmony, though often in sixths. An Alto flute is great for close thirds and unisons; octaves with a regular flute is asking for trouble. I also like to invert, to have the trumpet above the flute on the occasional long note, but that's hard from a volume standpoint. With a sax or trombone I'm most often open, which actually is a little more forgiving on intonation, partly because I don't hold back as much (playing quiet and in tune is the kind of thing trumpet lessons drill on). Sometimes I'll use a straight mute against a tenor sax, but it's a more strident sound than some venues call for. Usually if the bone is using a mute, I'd use the same one, although mixing plunger and wah-wah is interesting.
Unison and harmony are great sounds, but a lot of the time we just have one person play the melody and the other do decorative licks during long notes.
Went with Mom to see Verdi's Simon Boccanegra. On some Saturday afternoons, NPR does a simulcast of an opera at the Met with an HD presentation in selected movie theatres. It has some distinct advantages over being at the Metropolitan: you get close-ups of the faces and costumes and sets, and you get subtitles. During the intermissions (there were 3, each 15 minutes long), you are treated to brief interviews with cast members, camera tours of the opera house with all its glorious architecture, and watching the scene changes backstage.
That's the trade-off. You can fully appreciate how massive an undertaking it is, watching 150 set crew changing out 50-foot-tall pieces of scenery (for Act II they had a villa with a balcony and stairs, for goodness' sake) on motorized platforms that fit together tight as the pyramids. However, that crushes suspension of disbelief. It began with seeing the orchestra, and the conductor's entrance and first beats. But then the camera focused on the curtain, which opened to reveal the set and characters, and they began singing. I had more belief in the story than I do at most movies–until the first intermission.
This was actually the first time I've watched an opera all the way through. Placido Domingo was going outside his comfort zone to sing the baritone lead, a lifelong dream, and he did fine. In fact, I didn't dislike any of the singers even though the vocal style is not to my liking; in context, it worked for me. I'll say this for the opera itself: the plot was good and surprised me more in avoiding cliches than in anything it did; and the music was pleasant all the way through but left me with no memorable melodies.
I want to go see a live opera production, and such things are available in Atlanta; but this is a good experience and a heck of a lot cheaper (plus one of the theatres happens to be just a few miles from home).


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