The Page / Creekside Open 2013, Part 2, Selected by Ceri Hand.
Following Paul Noble's freewheeling, high-rised and multifarious selection (see The Page's review http://bit.ly/13w2Bnf), and in the unique tradition of having two selectors ordain two distinct exhibitions, comes gallerist Ceri Hands elegantly staged installment of Creekside Open 2013.
Jack West's 'Nodding Donkey' (2013), its head hooded and bowed, greets your arrival at APT Gallery. Sound is a key, understated element of the piece, scrolling out an exhibition soundtrack of meditative cognitive grind, as its redundant oil-pump ploughs the gallery air. Above the constancy of its arduous wheeze, the intermittent drag of its chain on the floor summons Marley's ghost dragging his misdeeds behind him for eternity. What sins weigh down the ghost of the oil-industry? The links crease and re-crease as the rig impotently paws the gallery floor, slowly depositing a fine film of the works black coating. The armature seems to churn out vast time frames in its evocation of a gradual wearing down of itself to a pile of motionless, elemental dust. Each time the chain is tenderly laid on the floor you notice a new configuration of links, like some industrial reading of tealeaves. These aspects tenderize the sharp formal poise of 'Nodding Donkey' as it drills for a version of minimalist repetitions, refinements and time frames that lie within us.
At the opposite end of the space, acoustically mingling with West's chained melody and extending its hypnotic sway, is Mark Davey's 'Together' (2013). Its twin neon strips read as a kind of stuck clock hand, passed back and forth interminably on some sadistic whim. Whilst I was there one of the tubes stood defiantly upright for a period, temporarily impervious to the volatility of the rhythmic vibration and the form's grasp, before succumbing again to its back and forth. Davey develops an interesting tension between the mechanistic and the informality of discrepancy and chance. The endless metronomic variations of the neon strips cultivate a pleasing trance whilst juggling the works possibilities. Somewhere between the crack of a boule and the blowing of a light bulb, there is pleasure also in the sound of the piece. The delicacy of the neon's casing landing at the end of each fall contains that part of the whole, extended by the soft glow of light, which reflects something fallible but determined.
In David Theobald's 'Workers' Playtime' (2011) the potential charm in repetitious lull turns into a balletic prison sentence. A DreamWorks style of animation adds to the initial innocence, and quite tangible recollection of maintaining a balloons air born status with slow motion, lackadaisical taps of the hand. Without any shift of pace, the piece gradually seems to become more and more foreboding – the balloons buoyancy a matter of necessity rather than playful doodling. Repetition is explored in abstract paintings elsewhere in the exhibition, in works connecting with the early influence of industry on modernism. It is the sculptural and animated ebbs of West, Davey and Theobald however that most successfully engage the quality of repetition in the industrial, and now the digital, leaving some of these painterly reconfigurations feeling rather elegiac and partisan.
Grant Foster's 'The Rose' (2013) seductively secateurs all but the most arduous of floral metaphors. The wet on wet brush marks fluid brevity and the particularity of his colours co-ordinates breath a kind of drowsy confidence into the piece. This aching harmony could feel closeted, but Fosters' compactness squeezes extra nuance out of 'touch' and 'rose'. In Magritte fashion, a literal reading of the unified forms becomes quite unsettling; a rose grafted onto a face, a portrait of budding, mutative countenance, drifting towards a petalled implosion. The hand over the face/rose – a svelte slip of oily tendrils – betrays both embarrassment and sympathy for its poetic morphology. The pieces formal eloquence asserts itself on your attentiveness and it's the small touches that your soon tracking, the gaps between the words…a ripple of yellow between an orange and a red, the way a rose seems to collapse in on itself. The artist's alertness hovers over this quiet, alluring painting, lending you its magnetism towards flourish and detail.
Agnes Calf's 'Rotation (Ear Plugs)' (2013) seemingly draws on those formalist painters such as Robert Ryman, whose churned up surfaces release fine gradations of textural and tonal ranges for the eye and the mind to haze in, gearing up resonances and references beyond literalness. Made of clay, Calf's intimate surface reveals the waves within a fingerprint, and the indentations of fingernails whose relentless prodding of this cocoon of inertia hovers between sensual absorption and panicked entrapment, a sleepy reverie or a kind of 'locked-in syndrome'.
Usually seen stuffed into the ears either side of a furrowed brow, the earplugs lend the material a feeling of fragility, with their allusion to the protection of silence, or their quest for quietude. The whole seems to describe sleeps edges, a dropping in and out of sentience, skillfully drawing on its artistic references and weaving potential into the form and function of the earplugs. Calf's self-framed sculptural spotlight reminded me of the writer Georges Perec's skill for illuminating and weaving fascination into the everyday objects of our lives (I wonder if Calf has read his story 'A Man Asleep'), and the ear-plugs become intriguing objects in themselves on inspection, chiming in all sorts of ways with minimalist rhetoric in their foamy cylindrical precision. The 'rotation' enhances the hermetic loops in the piece and tie you into its themes long after you've stopped staring into its soft turmoil. Sitting in a 'quiet zone' on a train on the way home later, the shuffling disdain for a rogue mobile ringtone accentuated the idea of silence as embattled will, and the pertinence of Calf's themes.
Anita Delaney's 'Huh' (2012) appears to show a sequence of everyday artistic trial and error theatricalized and reimagined as an Aphex Twin video. In short sharp edits someone smashes, drips and burns a series of materials, including themselves. There is always a hand present, a static sculptural component rather than a driving inquisitive force – it seems to be an artistic material itself, pointing, clapping, dripping and bleeding its way through the piece. In their interrogation of raw material, the hands and arms end up feeling interrogated. Outside the context of making art, 'Huh' plays with the idea that there is something quite depraved or psychotic about this kind of detached prodding and provocation of inert substances. The darkly humorous mania ponders the dividing line between exercising a loss of control and actually losing it. I would have liked its grinding Lynchian soundtrack to have been cranked up to a more pervasive level, flowing over the rest of the show and rattling the bones of the more contented, homagist works.
The thought draws me back to Agnes Calf's piece. I'm reminded that all good art comes with its own set of invisible earplugs.


Yury Nikolayevich Glazkov ( 2 October 1939 – 9 December 2008) was a Soviet Air Force officer and a cosmonaut. Glazkov held the rank of major general in the Russian Air Force.
Born in Moscow, in the USSR, Glazkov graduated from Kharkov Military Engineering High School in 1962, receiving the candidate of technical sciences degree.
He served as a flight engineer in the Soviet Air Force before being selected as a cosmonaut on October 23, 1965. He flew as a Flight Engineer on the Soyuz 24 mission. He retired from the cosmonaut corps on January 26, 1982. After Soyuz 24, he was made a Hero of the Soviet Union.
He was awarded a doctorate in technical sciences in 1974, and in 1989 he became the first Deputy Chief of Gagarin Cosmonaut Training Center, a position from which he retired in May 2000.
Glazkov wrote several books, including a technical guide to spacewalking, "Outside Orbiting Spacecraft" in 1977 and a book about space exploration, "The World Around Us" in 1986. Glazkov also authored several science-fiction novels. One of which, "Чёрное безмолвие" ("The Black Silence") was illustrated by fellow cosmonaut Vladimir Dzhanibekov. It was published in 1987.
Glazkov was survived by his wife Lyubov, and two children.


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Are their dental specialists that provide after hours in Coaldale?
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When you are dealing with an oral emergency situation, you could require therapy swiftly. 24 Hour Dental matching program in Coaldale, CO could assist you discover a dental professional that prepares to treat you and also reduce your discomfort as well as danger of infection. Spanish talking dental practitioners in Coaldale are additionally offered that prepare to se habla espanol for customers.
Although they feel and look strong, your teeth are in fact rather vulnerable. They could break, damage, obtain knocked senseless, or come to be loosened without much caution or reason. When among your teeth ends up being broken and also leaves you suffering beyond typical service hrs, your following idea may be, "Is there an emergency situation dental professional near me in Coaldale, CO that can see me now?". As opposed to experience the discomfort of a damaged tooth or a tooth pain that should have a tooth removal done on it, you could discover a dental practitioner in Coaldale that is open currently for emergency situation solutions when you call this cost-free, no-obligation 24 hr Colorado oral recommendation line. Also if you get in touch with the weekend break or on a vacation, you could be provided evaluations regarding an oral workplace in Coaldale that uses emergency situation treatment as well as could see you the exact same day that you call this 24/7 oral matching program.


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Dispatches on geopolitics, business, rights, and law
Departures Podcast
Energy Blast – June 11, 2010
By Citizen M | Published: June 11, 2010
Iran says its uranium enrichment program will not be derailed by new sanctions, with President Ahmadinejad promising to put the UN's measures 'in the waste bin'. Russia has apparently suggested that it will discuss the possibility of new nuclear plants in Iran. Gazprom has an optimistic outlook on European gas demand, despite its apparent slump. The company looks set to sign a deal with French utility EDF next week on the sidelines of the St Petersburg Economic Forum, on the latter acquiring a stake in the South Stream gas pipeline project. According to SIBUR Holding's 2009 financial report, the company's net profits rose an impressive 20.6%. The government may introduce a discounted tax rate on exports of east Siberian crude on July 1, while cutting the duty on crude oil exports as much as 16%. India's Reliance Industries Ltd. is, according to Bloomberg, considering buying a stake in shale gas assets in the US owned by Pioneer Natural Resources Co. Abu Dhabi's plans for a colossal solar energy plant are discussed in the Telegraph. 'Potentially counter-productive bully-boy tactics': why Obama should ease off the 'ass-kicking' in the FT.
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Kim Dotcom White Paper
The Bangkok Massacres – A Call for Accountability
White Paper on Nigeria's Nasir El-Rufai
The Repression of Political Freedoms in Singapore: The Case of Opposition Leader Dr. Chee Soon Juan
Соединенные Штаты Америки против Вас (и Кима Доткома)
White Paper: Abuse of State Authority in the Russian Federation
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redpajama_set_name: RedPajamaCommonCrawl


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← Soi Rommani: Phuket's Lane of Happiness
Left luggage counters at Suvarnabhumi Airport (Bangkok) →
Old Phuket Town
Posted on April 13, 2011	by Mai Pen Rai
Phuket Old Town was built on riches reaped from it's 19th century tin boom. In this historical part of southern Thailand's provincial capital, there are shrines, temples (Buddhist and Chinese), ornate and beautifully preserved shophouses, quaint cafes, small printing shops, private and public museums and a former red light district.
Phuket is composed a variety of ethnic communities including: Thais, Chinese, Malays, Indians, Nepalese and a unique mix of Hokkien Chinese and Thais locally referred to as Baba (Peranakan). The unique culture of the Babas is still evident in the architecture, commerce, dress and way of life in Phuket's Old Town.
From the 17th century, Phuket developed strong commercial, educational and cultural links with Penang and the British Straits Settlements of Malaya as a result of tin mining. During the reign of Rama V (1853 – 1910), Phuket became the administrative center for the tin-producing southern Thai provinces. The Chinese tin mining barons found it was more convenient to ship tin ore to Penang for smelting rather than transporting it to Bangkok. They sent their children to school in Penang for the same reason. On their return journeys, they brought back architects, carpenters, artisans and building materials from British-constructed Penang to design, construct and decorate their lavish mansions and intricate shophouse fronts, often highlighted with intricate Chinese fretwork.
The China Inn Café & Restaurant on Thalang Road
The beginning of the tin boom in the 19th century led to construction of many splendid mansions and shops that are still well preserved in the old part of Phuket. The architectural style, typical of the region, is often described as Sino-Portuguese owing to the strongly Mediterranean character. This is a misnomer as these buildings are not influenced by the Portuguese at all but are similar to those found in Penang with the blend of Chinese architectural features and colonial making it more appropriate to use the term Sino-Colonial architecture. More about the Chinese shophouse:
The shop-house was a place for a family to both live and do business, using the front of the building for trading and the remainder, including the upper floor, as their private home. Businesses in those days included banks, general stores and tin mining offices. Shop-houses are usually found built in rows, giving rise to the Hokkien Chinese term tiam choo, meaning a row of shop-houses.
Shophouses on Thalang Road
The floor plans of all these shop-houses are very similar: five metres wide but as much as 50 metres long, creating a very spacious living space for an entire family. Across the front of each, along the edge of the street, is an arcade, offering shade and shelter to the public. (These covered arcades or archways, called noh kaa kee in Hokkien dialect, join the shops together). Behind this, the house is usually divided into four parts.
Typical covered arcades or archways (noh kaa kee) joining shops together
There is a living room for general purposes and for receiving guests, followed by a space, open to the sky, with a well. At the rear is the kitchen. Upstairs is the family's private area and bedrooms. In the old days, the central open area was often the heart of the house. It was here that you would find the women of the house chatting while cooking or doing the washing. It was also, in a sense, the lungs of the house, allowing air to flow through, even in the hottest month, April, when temperatures in Phuket can rise to 38 degrees C. Also contributing to the cool atmosphere were the thick, solidly-built walls. Source: Phuket.com
Phra Phitak Chyn Pracha Mansion
The most lavish and celebrated angmor-lao ('red-haired' or 'foreign mansion') residence in Phuket Town is Phra Phitak Chyn Pracha Mansion at No. 9 Krabi Road. This grand angmor lao was owned by a Phuket born Chinese mining tycoon. After lying vacant for many years, it became a meeting place during the time of King Rama V and VI. The surreal setting with its Doric styling with three sets of archways is now under lease to the Blue Elephant Cooking School & Royal Thai Cuisine.
The core of Phuket Old Town is primarily made up of five roads and several sois (small streets or lanes). The main roads are Rasada Rd, Phang Nga Rd, Thalang Rd, Dibuk Rd, and Krabi Rd. My photos of the shophouses in the former red light district on Soi Rommani can be found here while the remaining buildings can be seen in the slide gallery below. These photos were taken in March 2011.
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Gallery | This entry was posted in Culture, DESIGN, History, Photography, Phuket, THAILAND, TRAVEL and tagged Baba, chinese architechture, Hokkien, Overseas Chinese, shophouses, Sino Colonial architecture, Sino-Portuguese architecture. Bookmark the permalink.
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Home > Consumer
India fines jewellery firm for withholding information in US$2b bank fraud
Thu, Feb 27, 2020 - 11:10 PM
Gitanjali's promoter and managing director, Mehul Choksi(above),his nephew, billionaire jeweller Nirav Modi, and others were accused of being involved in fraudulent transactions that led to losses of roughly US$2 billion for PNB.
PHOTO: SPH
[BENGALURU] India's securities regulator on Thursday fined jewellery retailer Gitanjali Gems and its executives 50 million rupees (S$973,430) for failing to disclose key information related to a US$2 billion fraud at Punjab National Bank (PNB).
Gitanjali's promoter and managing director, Mehul Choksi; his nephew, billionaire jeweller Nirav Modi, and others were accused of being involved in fraudulent transactions that led to losses of roughly US$2 billion for PNB.
PNB, India's second-biggest state-run bank, in 2018 alleged that a few rogue employees had issued fake bank guarantees over several years to help jewellery groups - controlled by Modi and Choksi - raise funds in foreign credit. Both have denied any wrongdoing.
Gitanjali failed to properly disclose the withdrawal of the credit limit by PNB, actions by various enforcement agencies relating to the case and the resignation of key executives, the Securities and Exchange Board of India (SEBI) said in an order.
Choksi and the company's executive director, Dhanesh Sheth, were also fined by the regulator.
"The deliberate defiance of the mandatory obligations and hiding the crucial and material information from investors, regulators and Stock Exchange, as found in this case should be dealt with sternly," the SEBI said.
The regulator also said that Gitanjali Gems failed to make proper disclosures about defaulting on bond payments owed to state-run Life Insurance Corp, India's largest insurer.
Modi was arrested in London in March last year and is currently fighting extradition to India, while Choksi, according to reports, is residing in the Caribbean nation of Antigua and Barbuda.
ByteDance launches Douyin Pay, its mobile payment service for China
Taiwan cancels major festival as domestic Covid-19 cases rise
Carmakers redesign cars for millions of ageing drivers in Japan
Takeover price for Sunningdale Tech raised to S$1.65 per share in final offer
Top India cinema operator predicts return of big bang releases
Gitanjali Gems
Mehul Choksi


I don't claim that writing well is easy. In fact, much of my work as a coach has to do with getting writers to notice the difficulty of what they are doing. That's the only way they'll be able to overcome it. But what is the difficulty that writing implies? What's so hard about it? I suspect that many students and scholars fail to make progress because they don't really answer this question. Or they answer it imprecisely. Or they simply get the answer wrong. However hard they struggle, therefore, they gain no ground. They're fighting an imaginary foe.
I notice this every time I work with a writer who has not followed my very simple rules. These rules are neither hard to understand nor difficult to follow. They merely require you to do some simple things. They do not require that you be a particularly knowledgeable person, nor an especially competent writer. They just require that you write in a particular way about the things you do know. If you follow them, the writing you produce will show how good a writer you are. It will be an example of how well you write. For reasons that I am only slowly beginning to understand, this prospect horrifies some people.
For most of their lives, I suspect, they have been able to "get around" the difficulty of writing rather than learning to write well. They have not become good at writing; they have found ways of getting their writing done without acquiring the requisite skills. The difficulty remains. So when I give someone an opportunity to demonstrate their ability to write, they feel a brief moment of terror. Their natural approach to a "writing assignment" is to try to conceal their inability to write. Some people have become rather expert at this art. If you want to become a better writer, I'm afraid you'll have to unlearn this. First learn to see the difficulty.
That's why you should decide what to write the day before. The decision should not take you longer than five minutes to make. Just pick one thing you think you know well enough to write a paragraph about. Write it down in a simple declarative sentence and make an appointment with yourself for tomorrow to spend 27 minutes composing a paragraph of at least six sentences and at most 200 words. Notice that the difficulty is not, now, knowing what you're talking about. You've removed this difficulty simply by choosing something you do know something about. Also, once the decision is made, the difficulty isn't any longer what you should write about. That, too, has been dealt with. The only difficulty that remains is the writing.
Getting started is not hard. If you're following my rules, you just sit down at the time you decided you would and begin typing. You type the sentence you wrote the day before. You then look at the sentence and try to feel again like you felt yesterday. "I know this!" Now … what's the difficulty? Well, first of all, remember it's not really your difficulty. The sentence is true and you already know this. The real difficulty can only be appreciated by thinking about what your reader will feel when seeing this sentence.
Will your reader find it hard to believe, hard to understand, or hard to agree with? Your problem, which you have 27 minutes to solve in the space of a paragraph, is to make the reader believe, understand or agree with your claim. You already do all these things, so there's no difficulty in your own mind. But your reader will need you to provide evidence, or explain your terms, or tackle their objections. Writing well means helping your reader deal with the difficulty of believing or understanding or assenting to your claims. You are trying to give your reader the advantage you have on the claim in question.
Next week, I will look at the three difficulties one at a time, and try to say something entirely useful about how to face them. Throughout, however, I will assume that they pose no difficulties for you: you believe what you say, you understand your words, and you agree with yourself. That's not the hard part. The hard part is the writing.


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Government urges households to redeem energy bill rebate vouchers
A sum of £1.8 billion was paid out last month through the government's Energy Bills Support Scheme
The government has urged households to redeem their energy bill rebate vouchers as soon as possible after figures showed only around two-thirds had already done so.
Last month, reports suggested thousands of Britons were missing out on energy bill support payments.
Publishing the data for the first month of the Energy Bill Support Scheme, BEIS said an estimated £1.8 billion was paid out last month.
The government's Energy Bill Support Scheme provides a £400 non-repayable discount to households.
This is applied over six months with a reduction of £66 every month.
Secretary of State for Business, Energy and Industrial Strategy, Grant Shapps, said: "All vouchers have now been sent to customers who should have them, so I urge everyone who uses a traditional prepayment meter to make sure they receive their voucher from their supplier and redeem them promptly, so they get the energy bill support they are entitled to."
Yesterday, the Chancellor confirmed that the UK would observe an increase in the energy price cap from April 2023.
BEIS Citizens Advice energy bill support energy bills energy bills support scheme energy crisis energy customers energy market energy rebate energy supplier Grant Shapps prepayment meter UK Government


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Q: Updating old formatted spreadsheets using a reformatted spreadsheet that takes the old values and duplicates them CODE IS DONE thx @TheMaster ✔
I'm an absolute novice in the google drive sdk, excuse me.
I'm trying to write a script, which allows many sheets that are identical to updated. Through a Source spreadsheet (with new formatting). Problem is that in the old sheets, values are in there, which must be in the new sheet "Source spreadsheet" (with new formatting) in there. And then again and again with an old sheet reiterate.
Procedure in my mind for the script:

*

*go to folder where many sheets are ✔

*open the first sheet and then always the next ✔

*take the data from area (A1:A2;C1:C2) ✔

*take the name of the sheets ✔

*Copy them into the data in the source spreadsheet in the same place ✔

*Make a copy of the source spreadsheet ✔

*Name the source spreadsheet as the old sheet ✔

*rename it and put it in another folder ✔

I will help, where I can.
current code:

function UPDATE() {
  //LEGEND: o=Old, ss=SpreadSheet, sss=SourceSreadSheet, s=Sheet, n=Name//

  //---TAKE ALL OLD SPREADSHEEDS FROM FOLDER ---//

  //replace it with Folder ID where the old spreadsheets are in
  var folder=DriveApp.getFolderById('Folder ID')
  //takes all files in the folder and sets the variable file
  var files=folder.getFiles();
    while (files.hasNext())
    {
  var file = files.next();

  //---TAKE DATA---//

  //replace with source ID
  var o_ss=SpreadsheetApp.open(file);
  //replace with source Sheet tab name 1 to as much as you want
  var o_s_n1=o_ss.getSheetByName('tab name1');
  var o_s_n2=o_ss.getSheetByName('tab name2'); //optional
  //assign one ore more ranges you want to copy
  var o_range1=o_s_n1.getRange('A1:A2');
  var o_range2=o_s_n1.getRange('C1:C2'); //optional
  //Copy the values
  var o_data1=o_range1.getValues();
  var o_data2=o_range2.getValues(); //optional

  //---COPY DATA---//

  //replace with destination ID
  var sss_ss=SpreadsheetApp.openById('destination ID');
  //replace with destination Sheet tab name
  var sss_s=sss_ss.getSheetByName('tab name1');
  //Area where to copy in the new sheet
    sss_s.getRange('A1:A2').setValues(o_data1);
    sss_s.getRange('C1:C2').setValues(o_data2); //optional

  //closes the code until here first
  SpreadsheetApp.flush();

  //---DUPLIKATE SOURCE SHEET AND RENAME IT AND PUT IT IN THE DESTINATION FOLDER---//

  //gets the sheet name from the old sheet
  var o_ss_n=o_ss.getName();
  //replace with destination Folder ID
  var folder=DriveApp.getFolderById('Folder ID')

  //Copy the destination sheet and name it like the old sheet
    DriveApp.getFileById('destination ID').makeCopy(o_ss_n,folder);
    }
}

A: Finally Done thx @TheMaster

function UPDATE() {
  //LEGEND: o=Old, ss=SpreadSheet, sss=SourceSpreadSheet, s=Sheet, n=Name//

  //---TAKE ALL OLD SPREADSHEEDS FROM FOLDER ---//

  //replace it with Folder ID where the old spreadsheets are in
  var folder=DriveApp.getFolderById('Folder ID')
  //takes all files in the folder and sets the variable file
  var files=folder.getFiles();
    while (files.hasNext())
    {
  var file = files.next();

  //---TAKE DATA---//

  //replace with source ID
  var o_ss=SpreadsheetApp.open(file);
  //replace with source Sheet tab name 1 to as much as you want
  var o_s_n1=o_ss.getSheetByName('tab name1');
  var o_s_n2=o_ss.getSheetByName('tab name2'); //optional
  //assign one ore more ranges you want to copy
  var o_range1=o_s_n1.getRange('A1:A2');
  var o_range2=o_s_n1.getRange('C1:C2'); //optional
  //Copy the values
  var o_data1=o_range1.getValues();
  var o_data2=o_range2.getValues(); //optional

  //---COPY DATA---//

  //replace with destination ID
  var sss_ss=SpreadsheetApp.openById('destination ID');
  //replace with destination Sheet tab name
  var sss_s=sss_ss.getSheetByName('tab name1');
  //Area where to copy in the new sheet
    sss_s.getRange('A1:A2').setValues(o_data1);
    sss_s.getRange('C1:C2').setValues(o_data2); //optional

  //closes the code until here first
  SpreadsheetApp.flush();

  //---DUPLIKATE SOURCE SHEET AND RENAME IT AND PUT IT IN THE DESTINATION FOLDER---//

  //gets the sheet name from the old sheet
  var o_ss_n=o_ss.getName();
  //replace with destination Folder ID
  var folder=DriveApp.getFolderById('Folder ID')

  //Copy the destination sheet and name it like the old sheet
    DriveApp.getFileById('destination ID').makeCopy(o_ss_n,folder);
    }
}

redpajama_set_name: RedPajamaStackExchange


text:
Q: When I declare Random inside my loop in C#, it gives me nonrandom numbers - declaring it outside my loop gives me random numbers. Why? I'm creating a deck of cards. When I try to shuffle, I am getting some weirdness.
The constructor before calling my program goes through the following loop (pseudo code,inclusive)-
for i in (0,13):
   for j in (0,3):
      new Card(i,j)

This is the simplified form,anyway. Basically a card with a number and a suit is generated. Now the problem code (C#):
private void Shuffle()
{
    List<Card> newList = new List<Card>();
    while (cards.Count > 0)
    {
        Random r = new Random();
        int next = r.Next(0,cards.Count);
        Console.WriteLine(next);
        Card cur = cards.ElementAt(next);
        newList.Add(cur);
        cards.Remove(cur);
    }
    this.cards = newList;
}

This gives me semi-predictable output - i.e. the following:
18
18
18
17
17
17
16
16
15
15
15
14
14
14
13
13
13
12
12
12
11
11
11
10
10
10
9
9
9
8
8
8
7
7
7
6
6
6
5
5
5
4
4
3
3
3
1
5
4
3
2
2
1
0
Near the end it seems to break the pattern, but I'm not sure why. Running it again gives me different, but non-random, outputs.
However, if I remove the random declaration to OUTSIDE the loop -
    private void Shuffle()
    {
        List<Card> newList = new List<Card>();
        Random r = new Random(); /** THE ONLY DIFFERENT LINE **/
        while (cards.Count > 0)
        {
            int next = r.Next(0,cards.Count);
            Console.WriteLine(next);
            Card cur = cards.ElementAt(next);
            newList.Add(cur);
            cards.Remove(cur);
        }
        this.cards = newList;
    }

I get much more random seeming numbers, in this case -
19,28,21,2,16,20,33,26,7,36,31,33,33,26,34,4,18,20,13,27,16,11,18,22,18,21,21,8,22,12,6,17,2,17,0,11,2,14,9,0,8,10,1,7,4,1,0,0,2,1,0,0
This difference seems to disappear when I publish the code from Visual Studio and run the outputted program. I'm confused as to what's going on. Since I have 4 cores, is this distributing the process to 4 cores at the same millisecond, thereby using the same number as its seed? That wouldn't make sense as to why it's working when I publish the code, though...

A:
The random number generation starts from a seed value. If the same
  seed is used repeatedly, the same series of numbers is generated. One
  way to produce different sequences is to make the seed value
  time-dependent, thereby producing a different series with each new
  instance of Random. By default, the parameterless constructor of the
  Random class uses the system clock to generate its seed value,

By having the declaration in the loop you are effectively calling the constructor with the same value over and over again - hence you are getting the same numbers out.
Random Class


WHQA 103.1FM and WHQB 90.5FM are now the flagship stations for the LifeFM Network, the listener-supported radio ministry of the non-profit Power Foundation. The LifeFM Network includes 24 radio stations located in 10 different states and covering geography from Illinois to Florida.
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Kobe Bryant's spending habits are in line with his earnings. Including spending $4 million on his wife's wedding ring, the former Los Angeles Lakers star spares no expense.
Produced by Emmanuel Ocbazghi. Original reporting by Tony Manfred.


text:
A phase II study of carboplatin and etoposide plus durvalumab for previously untreated extensive-stage small-cell lung cancer (ES-SCLC) patients with a poor performance status (PS): NEJ045A study protocol
Tetsuhiko Asao1,
Satoshi Watanabe ORCID: orcid.org/0000-0003-0041-69812,
Takahiro Tanaka3,
Satoshi Morita4 &
Kunihiko Kobayashi5
BMC Cancer volume 22, Article number: 1135 (2022) Cite this article
Small-cell lung cancer (SCLC) accounts for 12–15% of lung cancers and has a limited prognosis, with approximately one-third of SCLC patients having a poor performance status (PS). Patients with extensive-stage (ES) SCLC and a poor PS have a poor prognosis. For this population, overall survival from carboplatin and etoposide treatment is 7–8 months, and treatment development is an unmet medical need. Recently, the combination of an anti-PD-L1 (a ligand for programmed cell death 1) antibody and platinum-based chemotherapy has become the standard of care for ES-SCLC patients with a good PS (PS 0–1). We hypothesized that the combination of the anti-PD-L1 antibody durvalumab with carboplatin and etoposide would be feasible and effective for such patients.
We initiated a multicenter phase II study of durvalumab combined with carboplatin and etoposide in previously untreated ES-SCLC patients with a poor PS (PS 2–3). Eligible patients will receive durvalumab plus carboplatin and etoposide every 3 to 4 weeks for up to 4 cycles, followed by durvalumab every 4 weeks until progression or unacceptable toxicity. The dosages of carboplatin and etoposide for the second and subsequent cycles will be adaptively determined based on the adverse events of the first cycle. A total of 56 patients (43 patients with a PS of 2 and 13 patients with a PS of 3) will be enrolled in this study, with a 24-month enrollment period and a 12-month follow-up. The primary endpoint is the tolerability of carboplatin and etoposide plus durvalumab in previously untreated ES-SCLC patients with a poor PS. The secondary endpoints are the 1-year survival rate, objective response rate, progression-free survival, overall survival, ratio of PS improvement, and safety.
The results of this study are intended to establish the safety and efficacy of carboplatin and etoposide plus durvalumab in patients with ES-SCLC and a poor PS.
Japan Registry of Clinical Trials (jRCT), jRCTs031200319. Registered 21 January 2021, https://jrct.niph.go.jp/en-latest-detail/jRCTs031200319
Lung cancer is the leading cause of cancer-related deaths worldwide [1]. Small-cell lung cancer (SCLC) accounts for 12–15% of lung cancers. The age-adjusted incidence rate of SCLC in the U.S. was reported to be approximately 6 per 100,000 in 2016 according to an analysis of the SEER database [2]. SCLC has a limited prognosis (lung cancer-specific 2-year survival rates are only 11% for men and 17% for women), and the treatment of SCLC remains an important clinical challenge [2].
The standard of care for the first-line treatment of extensive-stage (ES) SCLC was platinum-based (platinum-doublet) chemotherapy (cisplatin or carboplatin and etoposide or irinotecan) for many years until the advent of combination therapy with immune checkpoint inhibitors (ICIs). Despite the high objective response rate (ORR) of cisplatin and irinotecan or cisplatin and etoposide (60–80%), the overall survival (OS) duration is approximately only 10–13 months for patients with a good Eastern Cooperative Oncology Group (ECOG) performance status (PS) [3,4,5,6].
Because of the rapid progression of SCLC, many patients are in a poor general condition at the time of diagnosis. A previous study reported that 51 (35%) of 145 patients with SCLC had a PS of 2–3 [7]. For patients with a poor PS (PS 2–3), carboplatin and etoposide have been one of the standard-of-care treatments for untreated ES-SCLC based on the Japan Clinical Oncology Group (JCOG) 9702 study [8]. This randomized phase 3 trial compared carboplatin (area under the curve [AUC] 5, day 1) and etoposide (80 mg/m2, days 1–3) with cisplatin and etoposide in divided doses (split PE) in patients with a PS of 3 and aged less than 70 years or those with a PS of 0 to 2 and aged 70 years or older. The median progression-free survival (PFS), median OS, and 1-year survival rates of carboplatin and etoposide vs. split PE were 5.2 vs. 4.7 months, 10.6 vs. 9.9 months, and 41% vs. 35%, respectively. In the subgroup analysis, the median OS for patients with a PS of 2–3 treated with carboplatin plus etoposide vs. split PE was 8.3 months vs. 8.1 months. Although grade 3 or 4 hematologic toxicities, such as leukopenia (grade 3 or higher: 54%), neutropenia (95%), anemia (29%), and thrombocytopenia (56%), were observed among all patients treated with carboplatin and etoposide, most toxicities were tolerable, and treatment compliance was favorable. Although adverse events in patients with a poor PS were not reported in this study, 74% of patients had a PS of 0–1 and were aged 70 years or older in the JCOG 9702 study, and patients with a poor PS had more frequent adverse events than those with a good PS.
Recently, the combination of an ICI and platinum-based chemotherapy has become a standard of care for chemotherapy-naïve ES-SCLC patients with a PS of 0–1. Programmed cell death-1 (PD-1) and PD-1 ligand-1 (PD-L1) play an important role in tumor immune evasion. The addition of an anti-PD-L1 antibody to conventional chemotherapy enhances tumor-specific T cell immunity by inhibiting the PD-1/PD-L1 pathway [9]. In a phase III trial (CASPIAN) that compared durvalumab (1500 mg) plus platinum-based chemotherapy with conventional platinum-based chemotherapy (cisplatin 75–80 mg/m2 and etoposide 80–100 mg/m2 or carboplatin AUC 5–6 and etoposide 80–100 mg/m2) in previously untreated ES-SCLC patients, platinum-based chemotherapy and durvalumab significantly prolonged OS, which was the primary endpoint (median OS 13.0 months in the study group vs. 10.3 months in the control group; hazard ratio (HR) 0.73 [95% confidence interval (CI) 0.59–0.91]; p = 0.0047) [10]. The response rate was significantly higher in the study treatment group (68%) than in the standard treatment group (58%) (odds ratio 1.56 [95% CI 1.10–2.22]). In a phase III study (IMpower133) on the addition of atezolizumab (1200 mg), an anti-PD-L1 antibody, to conventional platinum-based chemotherapy (carboplatin AUC 5 and etoposide 100 mg/m2), carboplatin and etoposide with atezolizumab prolonged OS compared with carboplatin plus etoposide (12.3 months in the study group vs. 10.3 months in the control group; HR 0.70 [95% CI 0.54–0.91]; p = 0.007) [11].
The combination of immune checkpoint inhibitors with cytotoxic chemotherapy has a synergistic effect and improves efficacy in ES-SCLC patients with a good PS. However, despite the high frequency of ES-SCLC patients with a poor PS, there remains an unmet need to explore the combination therapy of an ICI and platinum-doublet chemotherapy in these patients. Since SCLC is highly sensitive to cytotoxic chemotherapy, we hypothesized that patients with ES-SCLC and a poor PS may benefit from anti-PD-L1 antibody therapy because tumor shrinkage by anticancer agents is expected to improve PS and tumor immune responses. Therefore, we planned a phase II study to evaluate the safety and efficacy of carboplatin and etoposide plus durvalumab for patients with chemotherapy-naïve ES-SCLC and a poor PS (PS 2–3).
Study design and objectives
NEJ045A is a phase II, nonrandomized, open-label, single-arm trial (Japan Registry of Clinical Trials protocol identification no. jRCTs031200319). The study scheme is shown in Fig. 1. The primary endpoint is the tolerability of carboplatin and etoposide plus durvalumab in previously untreated ES-SCLC patients with a poor PS (PS 2–3). The secondary endpoints are the 1-year survival rate, ORR, PFS, OS, ratio of PS improvement, and safety. Patients will receive carboplatin and etoposide plus 1500 mg durvalumab (day 1) every 3 to 4 weeks in the induction phase, followed by 1500 mg durvalumab every 4 weeks in the maintenance phase until progression or unacceptable toxicity. The initial doses of carboplatin and etoposide will be modified according to PS. In patients with a PS of 2, at the first cycle, patients will receive carboplatin AUC 4 (day 1) and etoposide 80 mg/m2 (days 1–3). If prolonged neutropenia (grade 4 or higher for 4 days or more), febrile neutropenia, grade 4 or higher thrombocytopenia, or grade 3 or higher nonhematologic toxicity is observed in the previous cycle, the doses of both drugs will be decreased by 75% those of the previous cycle: namely, carboplatin AUC 3 and etoposide 60 mg/m2. If the above adverse events are not observed in the previous cycle, the dose of either carboplatin or etoposide can be increased (carboplatin AUC 5 and/or etoposide 100 mg/m2), or the same dose can be continued. The dose of durvalumab will be fixed at 1500 mg. To ensure safety, six patients with a PS of 2 will be enrolled in the first study and then evaluated by the efficacy and safety evaluation committee. In patients with a PS of 3, at the first cycle, patients will receive carboplatin AUC 4 (day 1) and etoposide 80 mg/m2 (days 1–3). If the above adverse events are not observed in the previous cycle, the dose of either carboplatin or etoposide can be increased, or the same dose can be continued. The use of the granulocyte colony-stimulating factor is allowed as the primary and secondary prophylaxis of febrile neutropenia.
NEJ045A Study Design. Abbreviations: ES-SCLC, extensive-stage small-cell lung cancer; ECOG, Eastern Cooperative Oncology Group; PS, performance status; AUC, area under the curve; PD, progressive disease
Key eligibility criteria
Key inclusion and exclusion criteria are shown in Table 1.
Table 1 Key patient eligibility criteria
The primary endpoint, the tolerability of carboplatin and etoposide plus durvalumab in untreated ES-SCLC patients with a poor PS, will be evaluated based on the percentage of patients who complete four cycles of carboplatin and etoposide plus durvalumab. In the JCOG 9702 study, which evaluated carboplatin and etoposide in ES-SCLC patients with a PS of 3 and aged less than 70 years or with a PS of 0–2 and aged 70 years or more, demonstrated that 63% of patients completed 4 cycles [8]. Our study will include only patients with a poor PS; therefore, if 50% of patients complete 4 cycles, the study treatment will be considered tolerable. If the expected percentage of completion in patients with a PS of 2 is 50%, the threshold percentage of completion is 33%, the one-sided alpha error is 0.1, and the beta error is 0.2, the required number of patients is calculated to be 41 based on the exact binomial distribution. If the expected percentage of completion in patients with a PS of 3 is 50%, the threshold percentage of completion is 20%, the one-sided alpha error is 0.1, and the beta error is 0.2, the required number of patients is calculated to be 12 based on the exact binomial distribution.
The total number of patients was calculated to be 56, considering the patients excluded from the analysis due to censoring. For the 1-year survival rate, which is the most important secondary endpoint, under the expected value of 26%, a threshold of 13%, and alpha error of 0.1 (one-sided), the power of the exact test for the binomial ratio is calculated to be 85 and 78% under all 53 patients (sum of those with a PS of 2 and 3) and 41 patients with a PS of 2, respectively.
This study was approved by the Niigata University Central Review Board of Clinical Research. All procedures will be performed in accordance with the ethical standards of the institutional and/or national research committee and with the 2013 Declaration of Helsinki and its later amendments or comparable ethical standards. All patients must provide written informed consent.
Participating institutions
Participating institutions are 31 hospitals throughout Japan that are members of the North East Japan Study Group (NEJSG).
The safety and efficacy of adding ICIs to platinum-doublet chemotherapy for ES-SCLC patients with a poor PS are unclear, and this is the significance of this study. A systematic review demonstrated that non-small cell lung cancer patients with a poor PS had a worse prognosis than those with a good PS [12]. Furthermore, a heavy tumor burden was associated with poor responsiveness to ICIs [13] Because platinum-doublet chemotherapy has a high response rate in ES-SCLC patients, a decrease in the tumor volume by cytotoxic chemotherapy results in improved PS, antitumor immunity and responsiveness to ICIs. To ensure safety, the initial chemotherapy dose will be started at a reduced level, but the design allows for dose escalation from the second cycle onward so that the effect on efficacy is minimized.
This is the first trial to examine the safety and efficacy of carboplatin and etoposide plus durvalumab for patients with ES-SCLC and a poor PS (PS 2–3). This study will provide new insight into the utilization of immune checkpoint inhibitors in these subjects.
The datasets used and/or analyzed during the current study are available from the corresponding author upon reasonable request.
AUC:
Area under the curve
ECOG:
Eastern Cooperative Oncology Group
Extensive stage
HR:
Hazard ratio
ICI:
Immune checkpoint inhibitor
jRCT:
Japan Registry of Clinical Trials
NEJSG:
North East Japan Study Group
NSCLC:
Non-small-cell lung cancer
ORR:
Objective response rate
PD-1:
Programmed cell death-1
PD-L1:
Programmed cell death ligand-1
PFS:
Cisplatin and etoposide
Performance status
SCLC:
Small-cell lung cancer
Bray F, Ferlay J, Soerjomataram I, Siegel RL, Torre LA, Jemal A. Global cancer statistics 2018: GLOBOCAN estimates of incidence and mortality worldwide for 36 cancers in 185 countries. CA Cancer J Clin. 2018;68:394–424.
Howlader N, Forjaz G, Mooradian MJ, et al. The effect of advances in lung-Cancer treatment on population mortality. N Engl J Med. 2020;383:640–9.
Noda K, Nishiwaki Y, Kawahara M, et al. Irinotecan plus cisplatin compared with etoposide plus cisplatin for extensive small-cell lung cancer. N Engl J Med. 2002;346:85–91.
Roth BJ, Johnson DH, Einhorn LH, et al. Randomized study of cyclophosphamide, doxorubicin, and vincristine versus etoposide and cisplatin versus alternation of these two regimens in extensive small-cell lung cancer: a phase III trial of the southeastern Cancer study group. J Clin Oncol. 1992;10:282–91.
Hanna N, Bunn PA Jr, Langer C, et al. Randomized phase III trial comparing irinotecan/cisplatin with etoposide/cisplatin in patients with previously untreated extensive-stage disease small-cell lung cancer. J Clin Oncol. 2006;24:2038–43.
Lara PN Jr, Natale R, Crowley J, et al. Phase III trial of irinotecan/cisplatin compared with etoposide/cisplatin in extensive-stage small-cell lung cancer: clinical and pharmacogenomic results from SWOG S0124. J Clin Oncol. 2009;27:2530–5.
Minami S, Ogata Y, Ihara S, Yamamoto S, Komuta K. Retrospective analysis of outcomes and prognostic factors of chemotherapy for small-cell lung cancer. Lung Cancer (Auckl). 2016;7:35–44.
Okamoto H, Watanabe K, Kunikane H, et al. Randomised phase III trial of carboplatin plus etoposide vs split doses of cisplatin plus etoposide in elderly or poor-risk patients with extensive disease small-cell lung cancer: JCOG 9702. Br J Cancer. 2007;97:162–9.
Iams WT, Porter J, Horn L. Immunotherapeutic approaches for small-cell lung cancer. Nat Rev Clin Oncol. 2020;17:300–12.
Paz-Ares L, Dvorkin M, Chen Y, et al. Durvalumab plus platinum-etoposide versus platinum-etoposide in first-line treatment of extensive-stage small-cell lung cancer (CASPIAN): a randomised, controlled, open-label, phase 3 trial. Lancet. 2019;394:1929–39.
Horn L, Mansfield AS, Szczesna A, et al. First-line Atezolizumab plus chemotherapy in extensive-stage small-cell lung Cancer. N Engl J Med. 2018;379:2220–9.
Dall'Olio FG, Maggio I, Massucci M, Mollica V, Fragomeno B, Ardizzoni A. ECOG performance status ≥2 as a prognostic factor in patients with advanced non small cell lung cancer treated with immune checkpoint inhibitors-a systematic review and meta-analysis of real world data. Lung Cancer. 2020;145:95–104.
Hopkins AM, Kichenadasse G, McKinnon RA, Rowland A, Sorich MJ. Baseline tumor size and survival outcomes in lung cancer patients treated with immune checkpoint inhibitors. Semin Oncol. 2019;46:380–4.
The authors thank the patients, their families, the coordinators, and all the study investigators.
This study is funded by AstraZeneca. The funding source is not involved in the study design, data collection, decision to publish, or preparation of the manuscript.
Department of Respiratory Medicine, Juntendo University Graduate School of Medicine, Tokyo, Japan
Tetsuhiko Asao
Department of Respiratory Medicine and Infectious Diseases, Niigata University Graduate School of Medical and Dental Sciences, 1-757 Asahimachidori, Chuouku, Niigata, 951-8510, Japan
Satoshi Watanabe
Clinical and Translational Research Center, Niigata University Medical and Dental Hospital, Niigata, Japan
Takahiro Tanaka
Department of Biomedical Statistics and Bioinformatics, Kyoto University Graduate School of Medicine, Kyoto, Japan
Satoshi Morita
Department of Respiratory Medicine, Saitama Medical University International Medical Center, Saitama, Japan
Kunihiko Kobayashi
TA: Conceptualization, Methodology, Investigation, Writing - Original Draft, SW: Conceptualization, Methodology, Investigation, Writing - Review & Editing, Project administration, Funding acquisition, TT: Methodology, Formal Analysis, Writing - Review & Editing, SM: Methodology, Formal Analysis, Writing - Review & Editing, KK: Conceptualization, Methodology, Investigation, Writing – Review & Editing, Funding acquisition. The author(s) read and approved the final manuscript.
Correspondence to Satoshi Watanabe.
This study was approved by the Niigata University Central Review Board of Clinical Research on 21 December 2020. All procedures will be performed in accordance with the ethical standards of the institutional and/or national research committee and with the 2013 Declaration of Helsinki and its later amendments or comparable ethical standards. All patients must provide written informed consent. This study is registered at the Japan Registry of Clinical Trials (jRCT), jRCTs031200319 (Registered 21 January 2021, https://jrct.niph.go.jp/en-latest-detail/jRCTs031200319).
Not applicable (this manuscript does not contain data from any individual person).
Tetsuhiko Asao has received speakers bureau from AstraZeneca, Chugai Pharmaceutical, Eli Lilly Japan, MSD, Nippon Boehringer Ingelheim, Ono Pharmaceutical, Taiho Pharmaceutical, Takeda Pharmaceutical.
Satoshi Watanabe has received funding from AstraZeneca, speakers bureaus from AstaraZeneca, Nippon Kayaku, Ono Pharmaceutical, Bristol-Myers Squibb, Boehringer Ingelheim, Eli Lilly, MSD, Taiho Pharmaceutical, Pfizer, Novaltis, Daiichi-Sankyo, Chugai Pharmaceuticals.
Satoshi Morita has received research funding from Nippon Boehringer Ingelheim, honoraria from AstraZeneca, Bristol-Myers Squibb, Chugai Pharmaceutical, Eli Lilly Japan, MSD, Nippon Boehringer Ingelheim, Ono Pharmaceutical, Pfizer Japan, Taiho Pharmaceutical, Astellas Pharma.
Kunihiko Kobayashi has received funding from AstraZeneca, speakers bureaus from Bristol-Myers Squibb, Boehringer Ingelheim, AstraZeneca.
Asao, T., Watanabe, S., Tanaka, T. et al. A phase II study of carboplatin and etoposide plus durvalumab for previously untreated extensive-stage small-cell lung cancer (ES-SCLC) patients with a poor performance status (PS): NEJ045A study protocol. BMC Cancer 22, 1135 (2022). https://doi.org/10.1186/s12885-022-10222-1
Poor performance status
Anti-PD-L1
Durvalumab


text:
Music News in South Africa
Fresh Flex Friday
>I've got my stunners on even though I'm indoors, don't tune me coz you're jealous bru, they're better than yours – ETC Crew
Written by Tecla Ciolfi on 9 November 2009
Very strange weekend this one. One filled with late night confessions, an instrumental band, copius amounts of black coffee and one early morning trip to the police station to post bail. Needless to say it was tonnes of fun. I miss those simple days when I was a minor. Ah who am I kidding, even when I was a minor nothing was ever simple. High five to life.
Friday night Mikey and I missioned to Speedway Cafe to checkout We Set Sail. I honestly had no idea what to expect because I didn't even bother to ask what they were all about. I went purely to support my buddies. Cause I'm nice like that. Nevertheless, We Set Sail's instrumental mishmash was pleasantly surprising, sacrificing a bassist for an extra keyboardist and a vocalist for a female trumpeter. On their Facebook fan page it says that they do have a bassist (Patrick ex-Howard Roark) but he was M.I.A. Hmmm.
Now sometimes I'm in chill mode and other times I crave a little Taxi Violence head banging, but the type of choons that We Set Sail delivered were exactly what I needed after the manic day that I'd had. Relaxing, soothing stuff – nothing like any of that Buddha Bar/Cafe del Mar crap – accompanied with a little bit of performance attitude courtesy of Trynity (trumpeter). Hell I'm sure the other boys had it going on too, but unfortunately the way that Speedway is structured, if you get stuck behind the benches, goodluck to you. It was also jaw dropping to see Steve (drummer) do a 180 from what he regularly does with The Sleepers to something as laid back as this. People that talented make me sick. I also managed to catch a song or three of Chris Slabber's on my way in, but I'm going to reserve my comments for the 17th of November at Luna. It's going to be a cracker children.
Also (and I don't why I've never blogged about these dudes before) hip hop foursome ETC Crew released their new music videos last week and had a nice little parrrdy at Rafikis for it. Now ETC Crew have been around for a while. They've been successfully over the seas and back and have been gigging steadily for the past few years, notching up festivals like Rocking the Daisies, Zimfest and Oppikoppi on their belt. Plus these boys just ooze charisma. Seriaaas.
L-R Logical, Bonsai Bush, Johnny Filter and DJ White Nite.
Now Johnny Filter and Logical (aka Martin – but stage names are just so much more gangsta) and I go back a long way – like Lord of the Rings long way. We even shared a limo and a table at my Matric Dance. Needless to say our table was the shit, even though those stuck up bitches couldn't deal when Martin wouldn't hou his bek during the speeches. Ah there I go digressing… I guess my point is… a more awesome bunch of dudes you're not going to find and this translates when they're onstage, with the most entertaining and energetic performances of any hip hop group I've ever seen. And that's the Jack's honest truth. Enjoy their music video. It might take a while to load, but that's because it's two videos for the price of mahala and it's worth it. If for nothing else other than to see Martin walking around Brooklyn "where white people suffer from malnutrition" butt naked in the first music video. Hell I'm white and I wouldn't even go to Brooklyn. And the second video is just pure genius. I dedicate it to everyone who has EVER ripped off someone from Joburg. I was in tears.
And on that note, I want to see ETC Crew perform with Jack Parow, that would be one cracker of a gig. Jissus. Catch ETC at Mercury on the 14th of November with Captain Stu. LADIES GET IN FREE THE WHOLE NIGHT. It's an interesting pairing for a gig and it's been a while since I've seen ETC Crew perform so I'm not missing this one for all the Gossip Girl reruns in the world. Hushhhhh mense. It's a hot show.
Oh and ETC Crew have also been nominated for Best Group at this year's Hype Awards. Go and vote vote vote (all along here) like it was the elections. And if you didn't vote during the elections in April, you're a doos. Simple.
Tecla runs this here show, is obsessed with Sho Madjozi and needs to make a plan to catch a My Chemical Romance reunion show.
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Next month cellist Yo-Yo Ma will make his long-awaited South African debut at Kirstenbosch Botanical Garden. On Saturday, […]
Texan punk rockers, The Dumpies, are headed to SA for seven-date tour at the end of February
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>In the absense of distraction, there's no charm in ravaging the splendour - aKING
>You got that hair slicked back and those wayfarers on, baby - The Ataris
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Texx and the City is run by journalist and editor Tecla Ciolfi. Tecla has been apart of the music industry in South Africa for the last 10 years in various capacities, namely journalism, radio presenting, event curation and artist management.
Texx and the City
Copyright Texx and the City 2019
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        this.becomeDirty();
    }

    bezierCurveTo(cx1: number, cy1: number, cx2: number, cy2: number, x: number, y: number): void {
        throw new NotImplementedError();
    }

    closePath(): void {
        // TODO: Consider the sample
        // g.beginFill(0xff0000); g.drawRect(100, 100, 100, 100); g.lineStyle(0xff0000, 1);
        // g.lineTo(400, 100); g.lineTo(200, 300); g.endFill();
        if (this._hasDrawnAnything && (this._currentX != this._lastPathStartX || this._currentY != this._lastPathStartY)) {
            this.lineTo(this._lastPathStartX, this._lastPathStartY);
        }
    }

    curveTo(cx: number, cy: number, x: number, y: number): void {
        throw new NotImplementedError();
    }

    drawCircle(x: number, y: number, radius: number): void {
        throw new NotImplementedError();
    }

    drawEllipse(x: number, y: number, width: number, height: number): void {
        throw new NotImplementedError();
    }

    drawRect(x: number, y: number, width: number, height: number): void {
        throw new NotImplementedError();
    }

    drawRoundRect(x: number, y: number, width: number, height: number, ellipseWidth: number, ellipseHeight: number = NaN): void {
        throw new NotImplementedError();
    }

    lineTo(x: number, y: number): void {
        throw new NotImplementedError();
    }

    moveTo(x: number, y: number): void {
        // Multiple movements are combined into one, which will be flushed at each
        // IGraphicsDataRenderer call that draws concrete elements
        throw new NotImplementedError();
    }

    update(): void {
        // check whether to $update the typed buffer
        this._$syncBuffers();
    }

    render(renderer: WebGLRenderer): void {
        console.warn("Do not call GraphicsDataRendererBase.$render().");
    }

    dispose(): void {
        if (this.vertexBuffer) {
            this.vertexBuffer.dispose();
        }
        if (this.colorBuffer) {
            this.colorBuffer.dispose();
        }
        if (this.indexBuffer) {
            this.indexBuffer.dispose();
        }
        this._vertexBuffer = this._colorBuffer = this._indexBuffer = null;
        this._vertices = this._colors = this._indices = null;
        this._context = null;
    }

    becomeDirty(): void {
        this._hasDrawnAnything = true;
        this._isDirty = true;
    }

    get isDirty(): boolean {
        return this._isDirty;
    }

    get graphics(): Graphics {
        return this._graphics;
    }

    get context(): WebGLRenderingContext {
        return this._context;
    }

    get vertices(): number[] {
        return this._vertices;
    }

    set vertices(v: number[]) {
        this._vertices = v;
    }

    get colors(): number[] {
        return this._colors;
    }

    set colors(v: number[]) {
        this._colors = v;
    }

    get indices(): number[] {
        return this._indices;
    }

    set indices(v: number[]) {
        this._indices = v;
    }

    get vertexBuffer(): PackedArrayBuffer {
        return this._vertexBuffer;
    }

    get colorBuffer(): PackedArrayBuffer {
        return this._colorBuffer;
    }

    get indexBuffer(): PackedArrayBuffer {
        return this._indexBuffer;
    }

    get hasDrawnAnything(): boolean {
        return this._hasDrawnAnything;
    }

    get currentX(): number {
        return this._currentX;
    }

    set currentX(v: number) {
        this._currentX = v;
    }

    get currentY(): number {
        return this._currentY;
    }

    set currentY(v: number) {
        this._currentY = v;
    }

    get lastPathStartX(): number {
        return this._lastPathStartX;
    }

    set lastPathStartX(v: number) {
        this._lastPathStartX = v;
    }

    get lastPathStartY(): number {
        return this._lastPathStartY;
    }

    set lastPathStartY(v: number) {
        this._lastPathStartY = v;
    }

    protected _$syncBuffers(): void {
        if (this._isDirty) {
            // When the array buffers become dirty, their values will be updated automatically
            // at next draw call.
            this._vertexBuffer.setNewData(this._vertices);
            this._vertexBuffer.becomeDirty();
            this._colorBuffer.setNewData(this._colors);
            this._colorBuffer.becomeDirty();
            this._indexBuffer.setNewData(this._indices);
            this._indexBuffer.becomeDirty();
            this._isDirty = false;
        }
    }

    private __initializeBuffers(): void {
        this._vertices = [];
        this._colors = [];
        this._indices = [];
        const context = this.context;
        this._vertexBuffer = PackedArrayBuffer.create(context, this._vertices, gl.FLOAT, gl.ARRAY_BUFFER);
        this._colorBuffer = PackedArrayBuffer.create(context, this._colors, gl.FLOAT, gl.ARRAY_BUFFER);
        this._indexBuffer = PackedArrayBuffer.create(context, this._indices, gl.UNSIGNED_SHORT, gl.ELEMENT_ARRAY_BUFFER);
    }

    private _graphics: Graphics = null;
    private _context: WebGLRenderingContext = null;
    private _isDirty: boolean = true;
    // Local points buffer, format: X, Y, Z(=STD_Z)
    private _vertices: number[] = null;
    // Colors of points, format: R, G, B, A
    private _colors: number[] = null;
    // Local indices (for points) buffer
    private _indices: number[] = null;
    private _vertexBuffer: PackedArrayBuffer = null;
    private _colorBuffer: PackedArrayBuffer = null;
    private _indexBuffer: PackedArrayBuffer = null;
    private _currentX: number = 0;
    private _currentY: number = 0;
    private _hasDrawnAnything: boolean = false;
    private _lastPathStartX: number = 0;
    private _lastPathStartY: number = 0;

}

export default GraphicsDataRendererBase;

redpajama_set_name: RedPajamaGithub


text:
The ruin known as Slingsby Castle | Photographs by Geoff Brooks
The ruin we see today and known as Slingsby Castle is in actual fact a Jacobean mansion which was built around 1630-1640 for Sir Charles Cavendish, the grandson of Bess of Hardwick.
An early design had been drawn up by Robert Smythson, the leading Elizabethan architect, who had been responsible for the design of Hardwick Hall in Derbyshire, Longleat House in Wiltshire and Burton Agnes and Fountains Halls in Yorkshire.
His son John Smythson produced the design that was actually built. It is rectangular, with a projecting stair turret on each corner.
There were two main storeys and a massive vaulted basement. The house had unusually high rooms and tall windows.
There is no record of the house ever having been inhabited and it seems that it was never completed, as Sir Charles Cavendish fled to the continent in 1644, having chosen the "wrong" side in the Civil War.
Our website has more about the Cavendish family at Slingsby here.
The ruin is now in the care of English Heritage and is on that body's regional Heritage at Risk register. It is in a dangerous state and is not open to the public. DO NOT attempt to enter the site.
More information about the earlier medieval castle which preceded it on the site can be found HERE
A gallery of Slingsby Castle images can be found HERE
Welcome to the website for the Parish of Slingsby, Fryton and South Holme.
Our website provides information for residents and visitors about our parish and community. The site is regularly updated with news and events posts, and also provides details about our history, the village newsletter, local walks and lots more.
Support during Lockdown 2
To view the Events Calendar page Click HERE
Ryedale District Council works with partners to manage flood risk 15th January 2021
BBC North Yorkshire
Covid: UK staycation boom predicted once lockdown lifts 16th January 2021
Jasmine Harrison: Atlantic solo rower rings mum 'every day' 16th January 2021
Covid-19 in the UK: How many coronavirus cases are there in your area? 15th January 2021
Covid vaccine: When will you be eligible? 15th January 2021
Ice warnings for England following day of heavy snow 15th January 2021
Covid: York Hospital 'two weeks away from capacity' 15th January 2021


text:
Q: Which of these is the correct statement of Wilson's theorem? My textbook states:
If $p$ is a prime, then $(p-1) \equiv -1\pmod p$.
But the online version is $(p-1)! \equiv -1\pmod p$.
Which one is correct?

A: The second one is Wilson's theorem.
Though the first one is not absurd, since
$$p\equiv 0\pmod p$$
you always have
$$p-1\equiv -1\pmod p$$
whether $p$ is prime or not.


text:
photograph by Jesma Reynolds
DECO Raleigh on Hargett Street is home to two local designers' crafty, colorful (and reasonably priced) pillows. Laura Browning and Amy Friend's handmade pillows add spring accents to any piece of furniture.
"I love the process of taking a few simple things, following a 'recipe,' and creating something tangible," says Browning, who sells her pillow covers for about $20 under the name Posy. Each Posy pillow cover features two contrasting fabrics and a colorful trim. Browning says she "plays matchmaker" to decide which fabrics will come together on a particular pillow. Creating each one takes about an hour in total, but the busy stay-at-home mom makes them one step at a time during naps or after bedtime.
"The idea that I'm making something a person is excited to give as a gift or to decorate their kids' room makes me all kinds of happy! It's an honor, really," says Browning.
Mixed media artist Friend uses her own drawings, which typically feature a tethered bird, as the main design feature of her pillows. She adds a floral fabric to the opposite side. "The content of my work can be heavy at times, and the contrasting whimsy of my fabric choices helps balance it out," she says.
In 2012, Friend branched into fine craftmaking during a solar plate etching class at Pullen Arts Center. Since then, she has experimented with silkscreening, the method she uses to impose her drawings onto fabric. She then sews and stuffs the pillows at home.
"My pillows are a combination of art and function. I love that people are able to bring a piece of mine into their everyday lives." – Emma Powell
Just Working: Artist Antoine Williams
Psychedelic Singles: The Enduring Appeal of Beatles-Era Garage Rock


El 1 de junio tuvo lugar la conferencia del grupo "G30" del "Grupo Vasco del Club de Roma", impartida por Jose Mari Luzarraga. PhD., Cofundador y Lider Mondragon Team Academy (MTA World) y Emprendedor Social ASHOKA Fellow, bajo el título Como hacer de Euskadi un referente mundial de Emprendimiento Social – Creando una sociedad Change Maker.
Aquí podéis ver la convocatoria.
Cofounder of Mondragon Team Academy (MTA World) a 1.443 team-entrepreneurs with 93 team companies & 13 MTA Social Innovation Labs in 3 different countries (Europe, Asia & Latin America) with a shared mission: We are passionate team-entrepreneurs blooming ourselves to create together a radical positive impact glocally.
ASHOKA Fellow since December 2015, ASHOKA bio. Ashoka Fellows are world leading social entrepreneurs who have innovative solutions to social problems and the potential to change patterns across society.
Professor at Mondragon University since 2004 lecturing in MBA and Global Business, working co-operatives, social entrepeneurship & CSR strategies masters. International researcher of MIK research centre. In June 2008 presented his PhD thesis Mondragon Multilocalisation strategy: Innovating a Human Centred Globalisation.
Speaker at several international conferences in India, Norway, Chile, Mexico, Colombia, USA, Saudi Arabia, China & Brazil, collaborate with different universities as CEIBS (Shanghai), DEUSTO Business School (Bilbao), Tecnologico de Monterrey (Mexico) or Harvard Business School (Boston).
Cofounder of Viaje Solidario, (2004), Empathya Consulting (2005), EusKalAsia (2006), Mondragon Team Academy (2008), TZBZ innovation consultancy (2012), MTA China (2014), Impact HUB Shanghai (2016). Advisory Board member of TZBZ S.Coop & DOT S.Coop.
Mondragon Team Academy (MTA World) is a global network of social innovation ecosystem labs, using Finnish Educational methods. Since 2017, international community of 1.443 team-entrepreneurs, learning by creating in 10 MTA Social Innovation Labs: San Sebastian, Onati, Madrid, Amsterdam, Bilbao, Barcelona, Valencia, Shanghai, Querétaro and Seoul.
LEINN: European official Bachelor Degree on ?Entrepreneurial Leadership & innovation? running in 8 locations: Irun, Onate, Madrid, Amsterdam, Bilbao, Barcelona & Valencia, Queretaro (Mexico).
MINN: Executive International master on Intrapreneurship & Open Innovation running since 2009 in Europe and since 2014 in China & India.
TEAMINN Mastery: a master program to certify MTA Team Coaches & TiimiAkatemia Finnish Education methods methodology.
MTA Change Maker Labs: a 6 months multi-faculty and multi-disciplinary program for conventional students to transform a university into a Change Maker Campus.
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Have you heard about Amazon's Universal Wish List? It's super cool. Instead of sending your family to your amazon list, etsy favorites, plus scribbling down your Old Navy, art supplies store, and kitchenware wants - you can easily put it all in one place with the wish list button. Anything online can be added to the list, and amazon puts it all together nice and neat. I love tidy things, and this is so tidy.
I'm a little eager for Christmas.
What a great idea for family members who are spread across the country.


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Singita is synonymous with exceptional levels of service, guiding and hosting. Singita Private Game Reserve covers 18,000 hectares of private land and is situated in the Sabi Sands Game Reserve, on the western border of South Africa's famous Kruger National Park. With no fencing between the two areas wildlife is free to move between the reserves.
Singita Boulders Lodge is a contemporary property constructed out of native wood and stone. Incorporating the massive boulders of its surroundings into the design, it manages to blend seamlessly with the landscape. The 12 luxury suites have private decks and plunge pools and overlook the Sand River to the plains beyond. Each room has air-conditioning, a sitting area, fireplace, bathroom with indoor and outdoor shower, dressing room, bar and telephone. Other facilities at the lodge include a swimming pool, bar, library with internet access, indoor and outdoor dining areas, wine cellar, spa, gym and shop.
Day and night game drives and guided nature walks provide guests with the opportunity to enjoy some of the best wildlife viewing in South Africa. Other activities on offer here include archery, and this is also a perfect place for those wishing to simply relax and enjoy the beautiful African wilderness.


There are times in life when we're vulnerable. Times when we're not able to cope with the world as we know it, and have a tendency to turn elsewhere in search of answers and assistance.
It might be that we're unwell and conventional treatments don't seem to be helping. In fact, as pointed out by Divine Magazine, chronic illness can make you uniquely vulnerable. Or you might just be going through a difficult time, and don't have your sceptical guards up in quite the same way as you would usually.
It's into this vulnerability that pseudoscience has a tendency to wade. Pseudoscience is a term used to describe a variety of "alternative" therapies, which offer the secret to health and healing-- for a price. If you've been consistently under the weather and don't seem to be improving, then you might find yourself contemplating investigating these treatments and ideas-- what's the harm in giving them a go, right?
The reality is that the harm can be very great indeed, potentially to your body and very definitely to your personal budget. Pseudoscience takes your vulnerability and makes it a commodity, something to be taken advantage of. To ensure that you're always able to spot these problematic treatments by keeping these three factors in mind.
The amount of medications available to us as patients is staggering. The reason there are so many different medications is because there's no "one size fits all" approach. Yet you will hear about alternative therapies -- pseudoscience -- that claims to be able to fix everything, from mental health problems through spinal problems. This simply isn't possible; the more ailments a treatment claims to fix, the more sceptical you should be.
Acupuncture is an alternative therapy that has crossed over into scientifically-backed fact, a feat it managed without demonizing existing medicine. Acupuncturists have always billed their therapy as complementary and additional, not an outright replacement for conventional medicine. It's never an "us versus them" battle. If you see an alternative therapy playing the "us versus them" card, then you need to be very sceptical indeed.
Just because something is old doesn't mean it's beneficial. For example, doctors in Tudor England believed that it was possible to have too much blood in your body. That's an old, ancient belief, but you won't see anyone advocating leeches as a cure for all ills! If you see a reference to ancient, mystic, or foreign knowledge, then be on your toes. Obviously, there are exceptions -- acupuncture has its history in Eastern medicine, for example -- but it's always wise to do a little research about how verifiable the "source" of this knowledge is. Often, it's little more than marketing nonsense.
By being on your guard for this three signposts of pseudoscience, you should be able to ensure that any treatment or therapy you embark upon will be genuinely useful to your life. Being sceptical is healthy; after all, if you're too open minded, then your brain might just fall out.


text:
Debar (maced. Дебар, alb. Dibër, Dibra, tur. Debre, gr. Δίβρη - Dibrē, Δίβρα - Dibra) – miasto w zachodniej Macedonii Północnej, u ujścia Radiki do Czarnego Drinu, między pasmami górskimi Dešat, Stogowo, Jablanica i Bistra, nad granicą z Albanią. Ośrodek administracyjny gminy Debar. Liczba mieszkańców - 14 561 osób (74% Albańczyków, 10% Turków (właśc. Torbeszów – macedońskich muzułmanów), 7% Cyganów, 7% Macedończyków) [2002].

Debar jest wspomniany na mapie Ptolemeusza z połowy II wieku n.e. (jako Deborus), w dokumentach z czasów cesarza bizantyjskiego Bazylego II oraz w dokumentach z 1502 (jako Dibri). W 1107 Debar został zdobyty przez armię krzyżową Boemunda z Antiochii. W XIII i w XIV wieku miasto podlegało Despotatowi Epiru, Carstwu Bułgarii, Cesarstwu Bizantyjskiemu i Królestwu Serbii. pod koniec XIV wieku zostało zdobyte przez Imperium Osmańskie. Miasto odgrywało ważną rolę w antytureckim powstaniu Skanderbega w połowie XV wieku. Pod Debarem miały miejsce dwie bitwy zakończone porażkami Turków - 29 kwietnia 1444 i 27 września 1446. Pod koniec XIX wieku Debar liczył 4,2 tys. mieszkańców. W czasach nowożytnych miasto było zaangażowane w albański ruch narodowowyzwoleńczy. Przywódcy debarskich Albańczyków uczestniczyli w założeniu Ligi Prizreńskiej 1 listopada 1878. Na przełomie XIX i XX wieku Debar liczył 15,5 tys. mieszkańców, lecz po I wojnie światowej liczba mieszkańców zaczęła spadać. Po wojnach bałkańskich miasto, po krótkotrwałej okupacji albańskiej, zostało anektowane przez Serbię. W czasie II wojny światowej Debar był okupowany przez Włochy i przyłączony do tzw. Wielkiej Albanii.

W okresie od XVII do XIX wieku Debar słynął z rzeźby w drewnie. Dziełami mistrzów z Debaru jest wiele ikonostasów w cerkwiach całego Półwyspu Bałkańskiego.

Koło Debaru znajdują się dwa zabytkowe monastery: pw. św. Jana Bigorskiego nad Radiką i pw. św. Jerzego Zwycięzcy w Rajčicy.

W okolicy Debaru działa kilka kopalni. W samym mieście działa fabryka gipsu "Radika-Knauf". Rzemieślnicy miejscy wyrabiają kilimy. Od czasu otwarcia granic Albanii w mieście kwitnie przygraniczny handel.

Miasta w Macedonii Północnej
Gmina Debar
Debar

redpajama_set_name: RedPajamaWikipedia


Making Baidu's PaddlePaddle platform run on Kubernetes: Baidu wants to see an environment where deep learning can run alongside the web server, data pipeline, etc., on the same cluster.
Deloittle predicts machine intelligence is a $31B market by 2019: I'll buy it, especially when robots and analytics come into play.
OpenFog Consortium releases a reference architecture: This group has a lot of the right players on board, but it's hard to see standards shaping up today without Amazon and Google involved.
Here's how Evernote moved 3 petabytes of data to Google's cloud: The headline kind of speaks for itself. That's a lot of data—some 12 billion files—and no downtime.
Rackspace lays off 6 percent of U.S. workforce: Save for not calling out the divisions that aren't performing up to expectations, this blog post from CEO Taylor Rhodes pretty much lays it all out there.
Some day, AI will come for us all. Today, it's helping us pin. Seriously, though, Pinterest is a great example of everyday applied AI.
The context here is planning algorithms, but encoding human intuition seems necessary for anything resembling a cognitive system. FWIW, planning is often cited as an ideal use case for quantum computers.
This is based on Power, from what I can tell. When will IBM productize its neuromorphic processor, which received some rave reviews last year?
The OpenFog architecture mentioned above.
Lightbend flies under the radar a bit, but it's building a nice company with a growing stable of big users.
Apparently, Orangeburg, N.Y., is a data center hub. Bloomberg has a big facility there, too. These companies will never go whole hog into the cloud.
There's lot of competition in this market, both big and small. But there's also a ton of upside if you can outshine the rest.
For Facebook, these apparently are the wages of releasing hardware designs. The patents were acquired from HPE in September.
And over in Redmond, Microsoft is hoping its newfound openness will help woo customers, including by letting them use its patents to defend against actions like the one above.
A direct headline from Computerworld here, so I kept it. Note: this is about all bias, not just the kind that warrants FTC fines or consumer boycotts.
Splice Machine does a SQL database powered by Hadoop and Spark, now offered as a cloud service. The company also open sourced its software last year. That's probably telling.
Marketing content, but this offers some decent analysis of the state of cybersecurity and how Apache Spot comes into play.
From Wes McKinney, a hedge fund data scientist who created the Pandas project, founded DataPad, and was most recently at Cloudera before getting back into finance.
And there are some interesting enterprise IT companies in here, including a database monitoring start (Nazar) and lots of AI.
That's a lot of dough for the company headed by former MySQL and Eucalyptus CEO Marten Mickos. But identifying security holes before the bad guys do is hugely important.
Application development gets the lion's share of investment, until 2020 when IDC predicts software will be the biggest line item. Startups: figure out your revenue model now!
While D-Wave is doing its thing, researchers are plugging away toward other avenues for quantum computing. Who knows when it will be commercially viable, and how revolutionary they it will actually be at that point.


text:
When will the violence end?
Josh Robinson reviews "Bullet Boy"
"Bullet Boy" traces the path of Ricky Gordon (rapper Ashley Walters of So Solid Crew) from the day of his release from a young offenders' institution back into daily life in his Hackney council estate.
The film follows his attempt to escape the pointless spiral of violence and retaliation, and the gradual but perhaps avoidable involvement in this cycle of his 12-year-old brother, Curtis (Luke Fraser).
The film's violence is shocking because it is so closely connected to the most inane details of everyday life.
There is no gang-culture, no drug-dealing, no organised crime; the initial provocation is a broken wing-mirror.
As the film is played out, the increasingly aggressive confrontation between two small groups of young black men is punctuated by scenes of Curtis playing video games and shots of the (always unused) local football fields.
The film is often quite brightly lit, but bathed in light in such a way that it is pale rather than intensely coloured. The end-result is a screen that is somewhat bleak, but at the same time strangely intimate.
The hand-held camera remains almost insistently close to the actors, while the shot-length feels relatively short: the position from which we observe moves along with that of the characters, refusing the possibility of a static viewpoint.
This is not a moralising film, but one that has a great deal to say about morality. The culture of reciprocal obligation is presented as one of the most harmful aspects of Ricky's life, and yet we are shown the inevitable creation of such an obligation through Curtis's deepening involvement in a riskily competitive friendship.
Attempts at restitutive justice break down as people demand retaliation over reconciliation; while the church, apparently an enabling factor in the regeneration of the bad-boy-turned-evangelical-pastor (Curtis Walker), is little more than a distraction, failing to provide even consolation.
The film's convincing setting and characters leave unanswered the questions of why particular choices are made.
Ricky offends his apparently strong but deeply hurt mother (Clare Perkins) by what he perceives to be the innocuous decision to spend his first night out of prison clubbing with his girlfriend.
His obligation to his best friend, the ironically named Wisdom (Leon Black), is one of compelled (if not unquestioning) acquiescence. Ricky consents to his friend's will, regardless of the potential consequences. And so a night out develops into a trip to seek revenge, and the conflict escalates.
As a petty feud grows into threats, violence, property-damage and eventually murder, Ricky's attempts to extricate himself become increasingly difficult: there is always one more thing to be done before he is able to move on.
In a touching respite from the intense, testosterone-fuelled anger of the rest of the film, Ricky, his girlfriend Shea (Sharea-mounira Samuels) and Curtis visit an ice-rink in the film's one scene of genuine happiness. But even this relationship is tinged with slight misogyny: Ricky is only half-heartedly apologetic for disappointingly brief sex.
Curtis's rejection of violence at the film's end is perhaps somewhat glib, providing an almost disappointingly upbeat end to what is for the most part a deeply troubling film.
And yet there must remain hope that the blind acceptance of recklessly misplaced loyalties might be questioned, that the cycle of violence might be avoided.
The question that remains is that of whether this cycle must come to a head before it can be rejected, of how far it must advance before a way out can be found.
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Evictions are an unfortunate peril of the rental property business. Not only is it essential to follow the correct steps, it is equally important to follow them on the proper time line. Delaying in any of the steps mentioned below can drastically impact your bottom line.
Step 1: - Initiate daily late alerts to be sent to all tenants residing in the property via email and text. It is not suggested that you personally call the tenant as this will likely lead to reasons why rent isn't paid, and those reasons can't be deposited into your bank account!
Step 2: - In Rhode Island, we send whats called the '5 Day Demand Letter'. This notice is required by State Law to be sent after the tenant is 16 days in arrears. The tenant then has 5 days from when this is mailed to rectify the balance with us.
Step 3: - In Rhode Island, we can now file the eviction case in district court. Typically, after filing, we have a court date within 9 days. A constable must serve the tenant their court summons.
Step 4: -On the day of court we meet our attorney in the lobby outside the court room. If the tenant appears we can attempt to create a payment plan, which is formally called a 'stipulation agreement'. This is a voluntary agreement signed by us and the tenant agreeing to the repayment amount and terms. Common agreements would call for an extra monthly payment on top of the normal rent amount until the balance is caught up in full. In most cases, the court will allow a portion of the attorney fees/court costs to be added to the agreement as well.
Step 5: -We then will keep an eye on the payment schedule to ensure the tenant is meeting the payment plan terms. If the tenant misses a payment you can then file a request with the court to obtain the execution for possession of the apartment.
Step 6: -When this occurs we then contact the Constable and provide him/her the execution for possession. This document enables him/her to remove the tenants. Sometimes tenants will vacate voluntarily when this occurs. Other times, tenants will be resistant. If this occurs the constable can engage a moving company, and contact police to arrest tenants for trespassing.
This entire process can take months at a time as you progress up the ladder of escalation, so this is why it is imperative that you file or hire a professional property manager as soon as possible to avoid a larger financial burden than needed.


Social media sites are commonly used by individuals to keep in touch with family and friends. Sites such as Facebook and Instagram can also be quality tools for landlords to bring about interest in vacant properties.
Social media sites are commonly used by individuals to keep in touch with family and friends. Sites such as Facebook and Instagram can also be quality tools for landlords to bring about interest in vacant properties. Social media has become a major marketing tool and can provide many benefits to landlords. From marketing to tenant screening, social media sites should be a go-to for rental property owners.
Traditional marketing tools used by rental property owners include radio advertisements, commercials on television and print ads. Such advertisements are only going to reach a certain number of people. With social media marketing, rental property owners can reach a vast audience. More and more people log on each day to social media sites for access to information, so why not have your own page for your rental company to provide additional exposure for your company?
With social media, you have an online presence. Individuals in your community can get to know your properties and what you offer. By setting up a social media site, you can use your page to present photos of your property as it becomes vacant as well as make announcements and chat with potential renters. By putting yourself out there and providing information to the public, you make it easy for tenants to find you and feel comfortable in renting your properties.
Social media can also be used by you as part of the tenant screening process. You can easily look up potential tenants to see how they post online. The true personality of a renter can be seen online which can help you to decide one way or the other, after completing a background check and additional tenant screening processes.
With social media sites, your business stays out in front. By constantly updating your page and providing new information, you stay fresh in the mind of your followers. This can help you to find new potential tenants as your followers will share vacancy posts or tell their friends and family about what you have available.
Overall, social media sites can be of great benefit to rental property owners. Be sure to have a page for your rental property company to reach your full marketing potential.


>Glyn, thanks for pointing this out!
>ResourceBundle API in this context to not load code?
to load resource bundles from the resource modules.
>ago, it could be that I don't remember it well.
and please ignore if you receive more than one copy of my reply.