text:
British Empire Philately
Melita Issue of Malta Stamps: 1922-26
The Milner Constitution of 1921 granted Malta a two-chamber government, with certain "reserved matters", which included defence and public order coming under the direct responsibility of the Governor. As part of preparations for this great event, the government decided to mark this occasion by issuing a special set of postage stamps.
In May 1921 Malta was granted Self Government and it was decided that a new definitive set of postage stamps would be issued to commemorate the event. As a result of a competition announced on the 17th June 1921, the design suggested by E.Caruana Dingli was adopted for the ¼d to 6d and £1 values and that by G.Vella for the 1/- to 10/- values.
The design used for pence and £1 values depicted a helmeted emblematic figure representing Malta supporting a rudder with its right hand, and a seascape background containing the rock of St Elmo and a Gozo boat. The other design consisted of emblematic figures representing (male) Great Britain, supporting a Union Jack shield with his left hand, embracing (female) Malta who holds an olive branch in her right hand; the date 1921 (in Roman numerals) occupies the lefthand corner of the central design which is surrounded on three sides by a frame of tiny Maltese Crosses.
Although the Maltese were eager to have these stamps ready for the inauguration of the new parliament on November 1, the Crown Agents in London, who catered for all works and acquisitions for British colonies, informed the Malta Post Office that they could not deliver the new stamps in time, mostly because of the delicate process of engaving the presented designs. The large workload at the De La Rue Company, which was to print the stamps, was another reason for the delay.
The Malta postal authorities had no other choice but to resort to a temporary measure and mark the occasion by overprinting SELF-GOVERNMENT on the current King George V stamps issued in 1919 and 1920. This emergency device had already been used before in 1902, when the two-and-half-penny stamp of Queen Victoriawas overprinted 'One Penny' owing to the very great demand for the lower value.
The overprint in 1921 was printed diagonally from bottom left to top right in black ink on all values except the two and 10 shillings value which were printed in red. All overprinting was done at the Government Printing Press at the Palace, Valletta. The complete set consisted of 17 stamps released on five different dates between January 12 and April 29, 1922.
The Self-Government definitive set known as the Melita Set was also issued in parts. The five lower values (half-penny, one penny, sixpence, one shilling and two shillings) were made available on August 1, 1922. The complete set, which was the first commemorative one to be issued, had a long lifespan, lasting till 1926.New rates of postage and registration and the depletion of stocks created the need for new values in different colours. But there was criticism in local papers about some details in these stamps.
On June 17, 1921, the Malta Post Office invited Edward Caruana Dingli and Gianni Vella, two leading artists, to design a set of stamps to mark the grant of responsible government. This was to be the first Maltese commemorative stamp set.
The Caruana Dingli designs featured an allegorical figure wearing an ornamental helmet, holding a rudder with her right hand. A seascape was used as background, with the Fort St Elmo lighthouse on the left and a Gozo boat on the right. Two shields, one showing the Union Jack and the other the eight-pointed cross on the Maltese red and white flag were included in the lower corners.
The Vella design was to be used for the shillings value (one, two and 10) showing two symbolic figures, a man representing Britain, holding a shield with the Union Jack with his left hand resting on a young lady (representing Malta) holding an olive branch. The design highlighted the care, protection and friendly relations between the two countries. The Maltese coat-of-arms was included in the lower left corner while a series of small Maltese crosses formed the outer frame. The date 1921 in Roman numerals (MCMXXI) was included in the upper segment of the central design.
On August 4, 1922, the designer, Edward Caruana Dingli, expressed his dissatisfaction in the daily Il Popolo di Malta on the execution of his design.
He wrote: "After correcting the first proofs and suggesting certain artistic retouching, I regret to say, that the result still fell short of my expectations. My original was copied by hand and alter-ations were introduced resulting in a totally different effect from that originally intended."
He also mentioned how the flowing part of the mantle behind the figure was suppressed and the bright sun lost much of its intensity.
However, the strongest criticism was about the way the St Elmo lighthouse was remodelled to make it look more like a bee-hive or a "Mosta dome" by the seaside.
Caruana Dingli also complained that he was never consulted about the colours used.
To justify his criticism, he exhibited an enlargement of his original design at the Public Library in Valletta.
Paper and Watermark
All values were printed by De La Rue & Co by the Typographic process on chalk surfaced paper (except £1), watermarked mult, script CA (sideways for pence values; upright for l/- values; sideways and upright for £1 value).
The ¼d to 6d stamps were apparently printed in sheets of 160 (two panes of 8 rows of 10 stamps) as the Malta National Museum possesses, but does not exhibit, low value printing plates with two panes of 80 mounted on mahogany boards. In view of this and the fact that there has been no information to the contrary it seems that those references which state that these values were printed in sheets of 120 are incorrect. The l/- values were printed in sheets of 80 (one pane of 8 rows of 10). The £1 value was printed in sheets of 40 (one pane of 4 rows of 10 stamps).
Jubilee Lines
Two extensive rules (the inner one being on the key plate, the outer one on the duty plate) surround each pane in the colours of the key and duty plates (but see 2/- and 2/6 values), the rules are 2mm from the stamps and, where applicable, are up to 1mm apart. Examination of the inner Jubilee Lines shows differences between plates 1,2 and 3 on the lower values. The lines are made up to two standard lengths 22mm and 19mm with odd lengths, to complete a pane surround, usually found in the bottom right hand corner - 12, 12½, 13, 13½, 14, 17, i7½mm. Examination of the outer Jubilee Lines shows differences between the denominations and they could be used as a check to see whether a second duty plate existed for any denomination. The lengths of line are similar - 23 and 19mm as standard and odd lengths - 22½, 18, 17½mm.
On the single colour stamps the key and duty plates may be found in different shades, which indicates the printing of all values was a double operation.
Examination of the perforation suggests that both the low and high values of the stamps printed from Plates 1,2 and 3 were perforated by the same single comb working from right to left perforating all margins except the right hand one. The comb had 17 perforation intervals (14.2 gauge) on the horizontal and 21 perforation intervals (14 gauge) on the vertical intervals. The £1 value looks as though it has been 'line' perforated but closer inspection reveals that the length of the horizontal row is slightly too long in so much as when the comb moved from right to left, the last hole on the left of the horizontal row practically touches the vertical row of the next strike of the perforating comb.
Malta, 1925 Melita Issue, Allegory, £1 black & bright carmine, SG 140. This never hinged corner margin block of 4 was sold at Harmers Auction SA in 2012 for 360 CHF plus buyer's premium.
Melita 1922-26. Malta Stydy Circle, Study paper 24, 1972.
"Stamps marking Malta's constitutional development" by Carmel Bonavia, The Sunday Times, Malta, December 4, 2011.
British Solomon Islands
Die proofs of Melita 1922-26 Issue of Malta Stamps
Northern Rhodesia
Antigua King George VI 1938-51 Issue
Gibraltar: King Edward VII Issue 1903-1908
Barbados Seal of Colony 1909-1910: Universal Colour Scheme Issue
Ascension 1938 KGVI 6d. - Details of the Printing Records
Bermuda Queen Victoria 1883-1904 Issue with wmk Crown and CA
1932-1937 The Rice Fields Stamps of Sierra Leone
Barbados 1897 Queen Victoria Diamond Jubilee
Antigua 1916-1919 War Stamps
Bermuda: The Pictorial Issue of King George V
Leeward Islands King George VI Large Key Type Issue 1937-1951


The creation of PFA and PTFE coatings and products changed the way many industries operate due to their flexibility, durability and versatility. Today, these materials are used in a wide variety of industrial and other applications, from laboratory and pharmaceuticals to food processing to power generation and waste incineration.
If you're in need of PFA or PTFE products for your industrial operations, there's a good chance you'll need a variety of things, including hoses, O-rings and Parker PFA fittings in San Jose, CA. In that case, you'll want to stock your business with the best of the best from Parker Hannifin, one of the industry leaders in PFA/PTFE manufacturing.
What are PFA and PTFE?
PFA and PTFE are staples in so many industries, but sometimes people get confused on what they are and which type they need. To break it down, PFA and PTFE are both fluoropolymers that offer very similar benefits and are used in similar applications. They are both flexible, durable and non-reactive, which makes them great for use near corrosive chemicals.
Perfluoroalkoxy alkane, or PFA, is probably best known for its superior flexion strength. PFA is more flexible than PTFE, making it the top choice for flexible tubing and hoses. Products made of PFA material are some of the most versatile and widely-used across many industries.
PFA is also water resistant, performs well in a variety of temperatures and is non-reactive. PFA tubing and fittings are commonly used for corrosive substances and handling critical procedures. Generally, PFA products are transparent and don't lose that transparency over time.
Meanwhile, polytetrafluoroethylene, or PTFE, is also quite durable and flexible and used for many of the same applications as PFA. However, PTFE is hydrophobic and thus resistant to sticking by water and other materials, making it more durable in some respects. Similar to PFA, PTFE is non-reactive. It is also heat resistant and has a low friction coefficient with solids.
What are PFA/PTFE products used for?
PFA and PTFE can be used in a lot of different applications; in fact, you probably know of PTFE from its more common household name, Teflon®. Both substances can be used in coatings for surfaces and products. PFA is typically used in many lab applications, as well.
In the industrial sector, both PFA and PTFE materials themselves are used to create many different types of parts, including hoses and piping, fittings and couplings, O-rings, seals, regulators and valves.
Come to Royal Brass Incorporated and browse our wide selection of PFA/PTFE products!
When you are in need of PTFE hoses or Parker PFA fittings in San Jose, CA, stop by Royal Brass Incorporated. Our store carries an extensive inventory of hoses, fittings, flanges, regulators, valves, adapters and gauges, all from reliable industry names like Parker Hannifin and Dixon.
We've served customers since 1952 and will be more than happy to help you find the right PFA/PTFE hoses and fittings for your industry. Our staff is well-trained and knowledgeable about our entire stock, so you can trust that you've been pointed in the right direction whenever you need a part. Call us today!


text:
Denison University solar arrays nearly ready
Marc Kovac The Columbus Dispatch
GRANVILLE — Jeremy King can catch glimpses of the panels through the trees from his front porch, now that the leaves have fallen.
The panels are shiny and look like water. A few friends hiking on nearby trails have asked him about the new pond or lake installed on a small section of about 350 acres of forested preserve owned by Denison University, just north of the main campus.
But that's not water — it's a solar sea that will provide the Granville liberal-arts college with about 15 percent of its annual electricity needs.
"It's my hope that this is the first step in many more steps to come that could include more solar, but also could include other technologies to get us to carbon neutrality," said King, Denison's director of sustainability and campus improvement.
Electricity generated from two solar arrays at the university will start flowing before the end of the year, thanks to an agreement between Denison and American Electric Power that was several years and a lawsuit in the making.
A total of 6,750 individual panels are in place at the sites, installed by Third Sun Solar of Athens, with a capacity to produce 2.3 megawatts of electricity. That's enough energy to power 300 to 350 average Ohio homes, said Geoff Greenfield, the solar company's president and co-founder.
A number of Ohio colleges are using solar-produced electricity, including Ohio Northern, Antioch, Oberlin and Cedarville, King said. When the switch is flipped for the Denison system in the next few weeks, it will be one of the largest college arrays in the state.
The university has been working to reduce its reliance on fossil fuels, with a goal of making its campus carbon neutral by 2030. The efforts included the creation a half-dozen years ago of a revolving loan fund that has backed more than 100 projects and helped to reduce energy use by about a third, saving about $500,000 in utility and related costs in the process.
Several years ago, Denison also began developing plans for a solar array. Stewardship was part of the impetus, as was student and faculty interest in renewable energy and related studies.
The smaller of the two new solar sites on campus has "been set up in such a way that students and faculty can have access to that site to be able to do various class projects or studies related to that," King said.
The solar arrays are owned by AEP and located on university land. They'll be operated and maintained by Third Sun Solar, with a long-term agreement in place for Denison to purchase all of the electricity that's generated.
The setup means stable power costs for the university, plus a means of avoiding extra charges during peak power usage.
"This gives us certainty about our cost of energy over the next 20, 25 years," said David English, Denison's chief financial officer and vice president for finance and management.
Looking forward, Denison hopes to structure the system to provide power to essential campus functions, should something happen to the larger electric grid.
The new solar setup wasn't all smooth sailing. A group of neighbors sued to stop the arrays, saying the village of Granville had disregarded its zoning regulations in allowing the project. But courts sided with Denison, and the legal challenge was abandoned.
The solar panels on the larger site can been seen at spots along Welsh Hills Road. King said evergreens will be planted to help screen those areas.
The rest of the Denison-owned land will remain as woodland and natural preserve, with trails providing public access around the fenced-in solar field.
And wildflowers and grasses will be planted around the panels to provide pollinator habitat for bees and monarch butterflies.
mkovac@dispatch.con
@ohiocapitalblog

redpajama_set_name: RedPajamaCommonCrawl


text:
Transfer Rumour
Lookman Saga Continues?
09/07/2018 The Toffee Blues Ademola Lookman, RB Leipzig, Thomas Robertson
In a summer full of contradicting statements and rumours from "reliable" sources, RB Leipzig manager Ralf Rangnick has claimed this:
"We're still in talks over Ademola Lookman – we want him back and he wants to come. We're also looking at something in central midfield, whether that's a no. 6, 8 or 10."
This statement clearly outlines Leipzig's desire to make another bid for Lookman, after their previous £12 million efforts was allegedly rejected by Everton and the German outfit also claim that the young English winger wants a move to the Bundesliga on a permanent basis. After the shambles of last season in which there was no clear project for the club, Lookman was allowed to leave on loan after failing to nail down a spot in Allardyce's starting 11 and now he is rumoured to be seeking a move away.
Brands is reported to want to keep Lookman at Everton and will refuse any offers no matter the value. Lookman should be part of Everton's plans going forwards after asserting himself as a quality young talent and despite Rangnick's attempts to unsettle him, Brands and Silva should be making it a priority to keep the winger on Merseyside.
← Onyekuru Loan Move Close?
World Cup Round-Up: Quarter-Finals Day Two →


The war behind all wars is a war on words; a war on language. For instance, in today's world independence is overshadowed by "inter-dependence", incessant talk of "democracy" overlooks our constitutional republic, "pooling" is now a substitute for sovereignty, "globalization" takes precedence over nation-states, economic growth has morphed into "sustainable development", "liberty is co-mingled with "freedom", and constitutional declarations of war have been replaced with the "approval" or "authorization" for war. The reason for the turnaround is that a modification of vernacular is necessary to bring about a global transformation of society. And that is exactly what the parasitic side show circus freaks that run our world intend to do.
Given all the sinister signposts along the way, we should have foreseen this pathetic ploy and its resultant ramifications coming. For the intention to reconfigure the entire political and economic landscape of the world was openly announced as far back as 1614. In that year a lodge of German Rosicrucians initiated a program of outward expansion with the publication of a leaflet announcing the presence of the Order in Hesse's largest principality, Hesse-Kassel. The shortened name of the pamphlet was Fama Fraternitatis. Its full title, translated into English, is as follows: Universal and General Reformation of the Whole Wide World, together with the Noted Fraternity of the Rosy Cross, inscribed to all the Learned and Rulers of Europe.
Despite the lofty and high sounding rhetoric, the title of the leaflet revealed a poisonous plot with an equally deadly intent: to topple all the crowned heads in Europe in preparation for a political renaissance that would soon sweep the continent and eventually the world. Many revolutionary and counter-revolutionary movements were sparked because of this pernicious proclamation. The world we live in today is a testimony to the success of these movements.
Many of course will counter that the Communists of old, just like the prevaricating politicians of today, use the word "democracy" to cloak their malevolent agenda. They have no belief in or support for real democracy. Essentially, when our guy wins- we're for democracy; when our guy loses- we're against it. While this is of course true, it misses the mark. The point here is that whether a democracy is real or not is superfluous. The goal is to use it to gain control of the majority. In doing so, the globalists seek to turn worldwide democracy into a global dictatorship. It's all part and parcel of the ongoing attempts to "harmonize" and "integrate" the world. For if the world can be convinced that everyone shares the same universal value system, then why not all come together under the rubric of world government? Why not establish a New World Order that oversees the end of all war?
Ultimately, when we see the spin, puns, double entendres, use, misuse, omissions, and distortions of lexicon at play in our world today, what we are really witnessing is a war on human consciousness. For language has become a modern mind control tool seeking to obliterate the will, creativity, and imagination of the individual. Couple this with the rampant repetition of propaganda, de-sensitization efforts, subliminal projection, amplification of modern media, and all the programming insights that have come from research in cognitive sciences, psychology, sociology, semiotics, and linguistics and it shouldn't be a stretch to understand why the masses have become something more akin to ghoulish goblins from the underworld as opposed to a rational, civil, human beings.
Reading the above quote one can't help being reminded of the Goddess Circe from ancient Greek mythology. Her name, which comes from the Celtic Kirk or Kerk, is the exegesis of the word "church". According to mythological lore, Circe was a priestess who lured innocents into her lair using magical spells. Once inside Circe would take away their minds transforming the young ones into pigs and other animals which she would then use to feed on.
Since the church is now essentially gone with Nietzsche declaring "God is Dead", we now have "entertainers" taking its place. Through MTV performances, American Idol, and other hideous abortive abominations of our nihilistic, morally bankrupt cannibalistic pop culture we are having our minds taken away. We are being paganized, brutalized, perverted, sexualized, and debased in what is this Nigredo phase of the alchemical Great Work. We are being fed on by a Force.
Alex Vandenberg is a writer and researcher of a myriad of different topics spanning everything from economics to the occult. He is currently in the process of completing two books on transcendental truths. His guiding light has been a singular focus on shedding light on what lurks beneath; on the roots of humanity's current conundrum as seen through the prism of spirituality.
The life of a slave has never been anything but slavery, no matter who's in charge.


text:
package gw.plugin.ij.intentions;

import com.intellij.codeInsight.CodeInsightUtilBase;
import com.intellij.codeInsight.daemon.impl.quickfix.CreateClassFromNewFix;
import com.intellij.codeInsight.daemon.impl.quickfix.CreateClassKind;
import com.intellij.codeInsight.daemon.impl.quickfix.CreateFromUsageUtils;
import com.intellij.codeInsight.template.Template;
import com.intellij.codeInsight.template.TemplateBuilderImpl;
import com.intellij.openapi.application.ApplicationManager;
import com.intellij.openapi.application.Result;
import com.intellij.openapi.command.WriteCommandAction;
import com.intellij.openapi.editor.Editor;
import com.intellij.openapi.project.Project;
import com.intellij.openapi.util.TextRange;
import com.intellij.psi.JavaPsiFacade;
import com.intellij.psi.PsiClass;
import com.intellij.psi.PsiClassType;
import com.intellij.psi.PsiDirectory;
import com.intellij.psi.PsiElementFactory;
import com.intellij.psi.PsiExpressionList;
import com.intellij.psi.PsiJavaCodeReferenceElement;
import com.intellij.psi.PsiMethod;
import com.intellij.psi.PsiModifier;
import com.intellij.psi.PsiNewExpression;
import com.intellij.psi.PsiPackage;
import com.intellij.psi.PsiReferenceExpression;
import com.intellij.psi.PsiReferenceList;
import com.intellij.psi.PsiType;
import com.intellij.util.IncorrectOperationException;
import gw.plugin.ij.lang.psi.impl.expressions.GosuTypeLiteralImpl;
import gw.plugin.ij.util.JavaPsiFacadeUtil;
import org.jetbrains.annotations.NotNull;

/**
 * @author mike
 */
public class CreateJavaClassFromNewFix extends CreateClassFromNewFix implements ITestableCreateClassFix {

  public CreateJavaClassFromNewFix(PsiNewExpression newExpression) {
    super(newExpression);
  }

  @NotNull
  protected String getText(final String varName) {
    return "Create Java class '" + varName + "'";
//    return QuickFixBundle.message("create.class.from.new.text", varName);
  }

  protected void invokeImpl(PsiClass targetClass) {
    assert ApplicationManager.getApplication().isWriteAccessAllowed();

    final PsiNewExpression newExpression = getNewExpression();
    final PsiJavaCodeReferenceElement referenceElement = getReferenceElement(newExpression);
    final GosuTypeLiteralImpl typeLiteral = (GosuTypeLiteralImpl) newExpression.getChildren()[0];
    ApplicationManager.getApplication().invokeLater(new Runnable() {
      public void run() {
        final PsiClass psiClass = CreateFromUsageUtils.createClass(referenceElement, CreateClassKind.CLASS, null);
        new WriteCommandAction(newExpression.getProject()) {
          @Override
          protected void run(Result result) throws Throwable {
            setupClassFromNewExpression(psiClass, newExpression);
            typeLiteral.bindToElement(psiClass);
          }
        }.execute();
      }
    });
  }

  protected void setupClassFromNewExpression(final PsiClass psiClass, @NotNull final PsiNewExpression newExpression) {
    assert ApplicationManager.getApplication().isWriteAccessAllowed();

    final PsiElementFactory elementFactory = JavaPsiFacade.getInstance(newExpression.getProject()).getElementFactory();
    PsiClass aClass = psiClass;
    if (aClass == null) return;

    final PsiJavaCodeReferenceElement classReference = newExpression.getClassReference();
    if (classReference != null) {
      classReference.bindToElement(aClass);
    }
    setupInheritance(newExpression, aClass);

    PsiExpressionList argList = newExpression.getArgumentList();
    Project project = aClass.getProject();
    if (argList != null && argList.getExpressions().length > 0) {
      PsiMethod constructor = elementFactory.createConstructor();
      constructor = (PsiMethod) aClass.add(constructor);

      TemplateBuilderImpl templateBuilder = new TemplateBuilderImpl(aClass);
      CreateFromUsageUtils.setupMethodParameters(constructor, templateBuilder, argList, getTargetSubstitutor(newExpression));

      setupSuperCall(aClass, constructor, templateBuilder);

      getReferenceElement(newExpression).bindToElement(aClass);
      aClass = CodeInsightUtilBase.forcePsiPostprocessAndRestoreElement(aClass);
      Template template = templateBuilder.buildTemplate();
      template.setToReformat(true);

      Editor editor = positionCursor(project, aClass.getContainingFile(), aClass);
      TextRange textRange = aClass.getTextRange();
      editor.getDocument().deleteString(textRange.getStartOffset(), textRange.getEndOffset());

      startTemplate(editor, template, project);
    } else {
      positionCursor(project, aClass.getContainingFile(), aClass);
    }
  }

  private static void setupInheritance(@NotNull PsiNewExpression newExpression, @NotNull PsiClass targetClass) throws IncorrectOperationException {
    if (newExpression.getParent() instanceof PsiReferenceExpression) return;

    final GosuTypeLiteralImpl typeLiteral = (GosuTypeLiteralImpl) newExpression.getChildren()[0];
    PsiType type = CreateGosuClassFromNewFix.getSuperClass(typeLiteral);

    if (!(type instanceof PsiClassType)) return;
    final PsiClassType classType = (PsiClassType) type;
    PsiClass aClass = classType.resolve();
    if (aClass == null) return;
    if (aClass.equals(targetClass) || aClass.hasModifierProperty(PsiModifier.FINAL)) return;
    PsiElementFactory factory = JavaPsiFacade.getInstance(aClass.getProject()).getElementFactory();

    if (aClass.isInterface()) {
      PsiReferenceList implementsList = targetClass.getImplementsList();
      implementsList.add(factory.createReferenceElementByType(classType));
    } else {
      PsiReferenceList extendsList = targetClass.getExtendsList();
      if (extendsList.getReferencedTypes().length == 0 && !"java.lang.Object".equals(classType.getCanonicalText())) {
        extendsList.add(factory.createReferenceElementByType(classType));
      }
    }
  }

  public void invokeForTest(@NotNull String packageName) {
    assert ApplicationManager.getApplication().isWriteAccessAllowed();
    final PsiNewExpression newExpression = getNewExpression();
    final PsiPackage pkg = JavaPsiFacadeUtil.findPackage(newExpression.getProject(), packageName);
    final PsiDirectory dir = pkg.getDirectories()[0];
    final PsiJavaCodeReferenceElement referenceElement = getReferenceElement(newExpression);
    final GosuTypeLiteralImpl typeLiteral = (GosuTypeLiteralImpl) newExpression.getChildren()[0];
    final PsiClass psiClass = CreateFromUsageUtils.createClass(CreateClassKind.CLASS, dir, referenceElement.getReferenceName(), referenceElement.getManager(), referenceElement, referenceElement.getContainingFile(), null);
    new WriteCommandAction(newExpression.getProject()) {
      @Override
      protected void run(Result result) throws Throwable {
        setupClassFromNewExpression(psiClass, newExpression);
        typeLiteral.bindToElement(psiClass);
      }
    }.execute();
  }

}

redpajama_set_name: RedPajamaGithub


text:
Q: How can i find using regex in word VBA and replace each match with a substring from the match? I'm writing a macro to find matches using a regex pattern. For each match I would like to replace it with a substring from the match itself.
For example:
Find all strings with the pattern "#vl-.*vl#"
It is supposed to get me a string such as "#vl-1 123vl#.
I want to replace the entire string with the substring "vl-1" from the match.
What i got so far is as follows:
Sub RegexReplace()
Dim objRegExp As regExp
Dim ObjMatch As Match
Dim colMatches As MatchCollection
Dim RetStr As String

Set objRegExp = New regExp
objRegExp.Pattern = "vl-.*vl#"
objRegExp.IgnoreCase = True
objRegExp.Global = False

Selection.WholeStory
Dim str As String
str = Selection.text
Dim result As String
If (objRegExp.Test(str) = True) Then
   Set colMatches = objRegExp.Execute(str)  'Execute Search
   For Each ObjMatch In colMatches  ' Iterate matches collection
      RetStr = RetStr & ObjMatch.Value &  vbCrLf
   Next
Else
End IF

TestRegExp = RetStr
End Sub

In case i have more than one match, I'll get a single string containing all matches.
Couldn't realize how I manipulate the match as a String.
And also how to replace the existing match before going to the next one.
I'm new in VBA...

A: Just use replace and submatch.
Sub RegexReplace()
    Dim objRegExp As RegExp
    Dim ObjMatch As Match
    Dim colMatches As MatchCollection
    Dim RetStr As String

    Set objRegExp = New RegExp
    objRegExp.Pattern = "(vl-.)( .*vl#)"
    objRegExp.IgnoreCase = True
    objRegExp.Global = False

    Selection.WholeStory
    Dim str As String
    str = Selection.text

    Dim result As String
    If (objRegExp.Test(str) = True) Then
        testregexp = objRegExp.Replace(str, "$1")
       'Set colMatches = objRegExp.Execute(str)  'Execute Search
'       For Each ObjMatch In colMatches  'Iterate matches collection
'          RetStr = RetStr & ObjMatch.Value & vbCrLf
'       Next
    Else
    End If

    'testregexp = RetStr

End Sub

A: Word can use wildcards for searching.
For example:
Sub ReplaceInWordWithLinks()

    Dim doc As Document, rng As Range, txt

    Set doc = ActiveDocument
    Set rng = doc.Range

    ResetFindParameters rng 'reset Find settings (tweak to suit)

    With rng.Find
        .Text = "#vl-*vl#"
        Do While .Execute
            txt = rng.Text                'pull the match
            Debug.Print "old", txt
            txt = Replace(txt, "#", "")   'remove #
            txt = Split(txt, " ")(0)      'split on space
            Debug.Print "new", txt
            rng.Text = txt                'update range content
        Loop
    End With
End Sub

Sub ResetFindParameters(oRng As Object)
  With oRng.Find
    .ClearFormatting
    .Replacement.ClearFormatting
    .Text = ""
    .Replacement.Text = ""
    .Forward = True
    .Wrap = wdFindContinue
    .Format = False
    .MatchCase = False
    .MatchWholeWord = False
    .MatchWildcards = True '<<
    .MatchSoundsLike = False
    .MatchAllWordForms = False
  End With
End Sub

A: You don't actually need a macro for this; it can all be done with a wildcard Find/Replace, where:
Find = (#vl-[0-9]@>) [0-9]@vl#
Replace = \1

or:
Find = (#vl-*>) <[! .,^13]@vl#
Replace = \1

Depending on whether what follows '#vl-' must be numeric or could be something else.
As a macro:
Sub Demo()
Application.ScreenUpdating = False
With ActiveDocument.Range
  With .Find
    .ClearFormatting
    .Replacement.ClearFormatting
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redpajama_set_name: RedPajamaStackExchange


text:
http://www.john-noott.com/paintings/paintings~period~19th-century/artwork/The-soldiers-return_21302.php
Alfred R. Waud - Railroad Building on the Great Plains, from 'Harper's Weekly', 17th July 1875
Thomas Sidney Cooper - Clearing the Wood for the Iron Way, 1880
Lionel Walden - The Steelworks, Cardiff at Night, 1893-97
Richard Dadd's art flourished during his years incarcerated in bleak Victorian institutions for the murder of his father. Arifa Akbar reports.
'The Demon Box' will be staged at the Finborough Theatre, London SW10 (020 7244 7439) to 1 October. 'Richard Dadd: the Artist and the Asylum' by Nicholas Tromans is published by Tate Publishing. An exhibition of Richard Dadd's work from the Bethlem Royal Hospital Collection runs at the Orleans House Gallery, Twickenham (020 8831 6000) to 2 October
http://www.independent.co.uk/arts-entertainment/art/features/richard-dadd-masterpieces-of-the-asylum-2345818.html
http://www.richmond.gov.uk/home/leisure_and_culture/arts/orleans_house_gallery/orleans_house_gallery_exhibitions/richard_dadd_exhibition.htm
This display includes examples of both secular and religious virtuoso carving. It is centred around an ornamental neo-Gothic font that was probably made by J. Castle of Oxford. The pair of mounted jug-shaped vases flanking the Crucifixion are by a London manufacturer called Egisippo Norchi.
William Arthur Breakspeare - Young lovers [Sale]
http://www.john-noott.com/paintings/paintings~period~19th-century/artwork/Young-lovers_27585.php
at 1:00 PM 1 comment:
Room 87: Constable, Turner & the Exhibition Landscape
http://www.vam.ac.uk/content/articles/r/constable-turner-landscape-room-87/
Joseph Wrightson MacIntyre - A View of Sheffield from Psalter Lane
William MacBride - Sheep Dipping, River Dee, Kirkcudbright c. 1907
Tom Mostyn - Picnicking Along the Thames [Sale]
http://www.rehs.com/view_image.html?image_no=2013&inq=1
Garnet Ruskin Wolseley - Portrait of Phyllis Calvert [Sale]
http://www.john-noott.com/paintings/paintings~period~20th-century/artwork/Portrait-of-Phyllis-Calvert_26844.php
http://www.vam.ac.uk/content/articles/r/lord-leighton-frescoes-room-102/
Robert Walker MacBeth - Study for 'The Opening of the Royal Exchange by Queen Victoria, 1844' c. 1891
Robert Walker MacBeth - Late for the Ferry, King's Lynn, Norfolk 1881
Alfred de Breanski - An Autumn Morning, Hurley Reach [Sale]
Alfred de Breanski - Fladbury Lock on the Avon, Worcestershire [Sale]
The large cross was designed and sculpted by the Hon. Harriet M. Ross of Rosstrevor, Ireland. It depicts scenes from the New Testament, including the Crucifixion in the centre and the Resurrection at the top. The polygonal glazed display case to the right belonged to Spiers & Son of Oxford. It contained objects and furniture made of papier mâché.
http://www.newlyn.info/images-mainmenu-57/old-newlyn.html
http://www.vam.ac.uk/content/articles/r/sheepshanks-collection-room-82/
John Singer Sargent The Artist's technique and materials Jacqueline Ridge and Joyce Townsend
http://jssgallery.org/Essay/Articles/Apollo/Apollo1998.html
acknowledgements to
http://jssgallery.org/index.htm
Robin Darwin - Camouflaging a New Flight Shed 1941
Edward Thomas Daniell - Back River, Norwich (View at Hellesdon)
John Dalby - A White Horse with Dappled Legs Standing in a Stable 1849
Stanhope Alexander Forbes - The Picture Book, 1924
http://www.npg.org.uk/collections/search/portraitLarge/mw117347/Luke-Fildes?search=ss&role=sit&LinkID=mp01571&rNo=6
Ernest Dade - A Convoy Passing Whitby High Lights c. 1919
Susan Isabel Dacre - The Roofs of Perugia, Italy 1911
Robert Ponsonby Staples - Edward Carson, 1st Baron Carson
chalk, 1898
http://www.npg.org.uk/collections/search/portraitLarge/mw07174/Edward-Carson-1st-Baron-Carson
http://en.wikipedia.org/wiki/Sir_Robert_Staples,_12th_Baronet
Known as the "barefoot baronet", he refused to wear shoes as he believed that leather soles would block out the natural electricity exuded by the earth and thus impair the health. Rubber soles he considered "absolute suicide". He would travel to Belfast solely to walk on the tramlines as he believed this extra boost of electricity would be especially beneficial.
William A Menzies - Before the Masters of her art 1887
http://www.artnet.com/artists/lotdetailpage.aspx?lot_id=A71DCF2832156B30
Century-old mystery of stained glass windows that inspired Vincent van Gogh solved as they are located in Hampshire church
The location of two stained glass windows that inspired Vincent van Gogh has baffled historians for almost 150 years.
Experts have been intrigued ever since the post-impressionist painter wrote about seeing their designs in London in 1876.
For more than a century, no-one had a clue which windows he was referring to but now an art historian has finally traced them to a remote village in Hampshire.
After a bit of detective work, Max Donnelly found the two, foot-feet high windows to St Andrew's church in Owslebury near Winchester.
The windows were commissioned by the Earl of Northesk to show his wife and daughter who both pre-deceased him.
Read more: http://www.dailymail.co.uk/news/article-2029973/Century-old-mystery-stained-glass-windows-inspired-van-Gogh-solved-located-Hampshire-church.html#ixzz1W8PJcORc
http://www.direct-art.co.uk/liverpool-art/36-photo-of-liverpool-lord-st-circa-1900.html
Mixing different periods on the this my main blog seemed like a good idea but is confusing the hell out of me, if no-one else. I've just acquired several hundred new Newlyn/British Impressionist pictures in addition to the pile I already have of Victorian/Edwardian. I guess the first idea I had of making separate blogs makes more sense. It gives viewers a better choice and stops me posting to this blog every few hours.
I will be making a few minor changes in that I will be adding more pictures from new catalogues I've bought that often aren't on the net. Though I'm not in the trade I do regularly check the main dealers and auctions and want to highlight more pictures for sale that others might be interested in. I also want to include posts on artists biographies and technical details. I hope in time to add more detailed separate 'catalogues' on the main artists I personally research.
My health is still pretty awful but since I can't go out much I will try to keep these blogs up as long as I can. Who knows I may get better!
I do welcome comments and will try to help with queries and valuations when I can - but bear in mind I am only an interested amateur. I'm retired now but regret not buying more pictures when I was younger. But I was busy flying all over the world and it didn't seem so important then.
http://www.messums.com/work.php?id=9900
[Charles Ginner
Piccadilly Circus 1912]
http://www.mutualart.com/Events/Exhibitions/Camden-Town-and-Beyond/8C6F0AD6B8E6CDF8?utm_source=newsletter_b&utm_medium=email&utm_campaign=nl_events
http://www.tate.org.uk/britain/exhibitions/modernpainters/
http://en.wikipedia.org/wiki/Camden_Town_Group
http://www.telegraph.co.uk/culture/culturereviews/3671131/The-Camden-Town-Group-painters-who-lit-up-the-streets.html
http://www.artcyclopedia.com/history/camden-town-group.html
http://www.guardian.co.uk/books/2008/feb/02/art.art
http://www.independent.co.uk/arts-entertainment/art/reviews/modern-painters-the-camden-town-group-tate-britain-london-783467.html
http://www.penleehouse.org.uk/artists/frank-bodilly.html
Sir James Guthrie - Artist & Leading Light of the 'Glasgow Boys' movement
http://www.helensburghheroes.com/heroes/sir_james_guthrie
John Mulcaster Carrick - Magdalen Bridge and College, Oxford 1859


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I Never Thought I'd Get Over My High School Sweetheart . . . and Then I Saw Him Again
How to Get Over Your High School Sweetheart
9 November, 2019 by Julia Freels
Four year ago I was so in love that it made my stomach hurt. He was my first boyfriend, so naturally, I was head over heels. Who cared if he lived eight hours away or if his mom didn't like me? He wrote me songs, sent me poetry, and gave me the most thoughtful gifts. Sheryl Crow said it best: "the first cut is the deepest," and I was dazzlingly, butterflies-in-stomach, heart-won't-stop-pounding in love.
But it didn't last. In a display of typical high school boyfriend behaviour, he broke up with me over text message three days after prom. I'd decided not to go to college near him, and he said long distance wasn't sustainable for that long. It's a good reason to break up with someone, and in retrospect I'm glad he did it, but as far as I was concerned back then, the best days of my life were over. I'd never love anyone that much again — it simply wouldn't be possible. He was a coward for abandoning me, he was jealous of my achievement, and I hated him, yet I would've done anything to change his mind.
50 Things to Do Instead of Being Sad About Your Breakup
I was out of commission for months. My behaviour was erratic and I'd lash out with no warning at the people who provided me with the most support. I spent my freshman year of college oscillating between the intense happiness of new beginnings and the horrible loneliness of a heartbreak that just wouldn't stop hurting. I started berating myself constantly: why wasn't I getting better? Wouldn't a normal person be over it by now?
I'd braced myself for agony, but I was wrong. Seeing him again was earth shattering precisely because it was not earth shattering at all.
But by my senior year, I was finally and completely over him. Somewhere within my four years at college, moving on just happened on its own accord. I didn't wonder anymore what I'd done wrong or why I wasn't good enough. I'd suffered much more difficult heartbreaks since then, which is the only sure-fire way to get over an ex, and if I ever did think of him, it was only to incidentally recall the good parts of our relationship, like that poem he'd copied into an old notebook or the name of the hiking trail where we'd had our first kiss. This, of course, was the perfect time for him to email me out of the blue and remind me of his existence. "Haven't heard from you in a while" was his reasoning. "Just checking in." I decided to one-up him — I had an upcoming job interview in his city, so I invited him for coffee. He offered to pick me up from the airport.
When he stepped out of his car to give me a hug, I was shocked. He looked exactly the same as he had four years before, right down to the haircut. I even recognised his t-shirt. I'd braced myself for agony on the plane ride over, remembering the constant pain I'd felt for nearly a year after we'd broken up, and I expected my heart to break all over again. But I was wrong. Seeing him again was earth shattering precisely because it was not earth shattering at all.
How to Know You Shouldn't Marry the Person You're Dating
Shortly after our somewhat awkward initial greeting, we got along like we'd never had a falling out in the first place. We'd dated for a reason, after all, and our conversation never faltered. We had a lot to catch up on, and we still had a lot in common. I spent my time with him trying to figure out whether he'd become the person I'd thought he would. In some ways he had — he was smart, successful, and sweet. But the things I'd loved about him in high school were things that made me covertly roll my eyes during the day we spent together. He hadn't outgrown his poetic bent, and behaviours that were endearing for a high schooler were melodramatic for a grown man. I imagined him writing me the type of sappy text he used to send and I cringed. (Then, of course, I remembered the sappy texts I'd sent him, and I cringed even harder.)
What I'm saying here is classic: time heals all wounds. But I really mean it. I loved him so much, yet in the years following our breakup, I eventually reached a place where my stomach stopped dropping every time I heard his name. I'd gone several years without succumbing to a crying spell over him, and I hadn't even noticed.
If you're going through something similar right now, no matter how much it hurts, it's possible — in fact, it's downright likely — that you'll be able to love again after an intense breakup. It might not even take that much effort; moving on may just sort of happen if you allow yourself enough time and patience. I'm convinced that the heartbreaks we accumulate will help us love new people just as deeply, but with some much-needed perspective about ourselves and the types of relationships we'd like to create. And hopefully you'll even be able to look back on your relationship and see it for what it really was: everything you needed back then, and completely wrong for the person you've become in the meantime.
Image Source: Getty / We Are
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Remembering Swami Vivekananda on his death anniversary: here is some Lesser-known facts
July 04, 2019: 'Arise! Awake! And stop not until the goal is reached', is one of the oft-repeated words of Swami Vivekananda who died at an early age of 39 years on July 4, 1902. Born as Narendra Nath Datta, he acquired the name Swami Vivekananda when he became a monk.
On his death anniversary today, we bring to you some lesser-known facts about the founder of Ramakrishna Math and Ramakrishna Mission.
*Swami Vivekanada was considered a shrutidhara, a person with prodigious memory. Other than studying Sanskrit scriptures and Bengali literature, he studied Western philosophers as well.
*Despite his BA degree, Swami Vivekananda was jobless and had to go door-to-door in search of employment opportunities during his youth.
*Swami Vivekananda went through a phase of spiritual crisis when he was unemployed. That s when he was introduced to the name Shri Ramkrishna Paramhansa by one of his English professors. In 1881, he met with Shri Ramkrishna at Dakshineshwar s Kali temple and got influenced by his teachings.
*Even though Swami Vivekananda respected women, he never allowed them inside his monastery. On one occasion, he even became furious when one of his disciples allowed his mother to enter.
*Swami Vivekananda had commendable concentration power and was a voracious reader. He would borrow many books from a library and return them the very next day. This continued for some time until the librarian eventually decided to find out whether he actually read the books. So, the librarian asked him a question from one of the pages of a random book and Vivekananda not only answered the question but also managed to even quote several lines from the book.
*It is believed that Swami Vivekananda had prophesised that he would not live for more than 40 years. On July 4 1902, he woke up early and went to the chapel at Belur Math to meditate. He then taught Shukla-Yajur-Veda, Sanskrit grammar and the philosophy of yoga to his students and went to his room by 7 pm to meditate again. He specifically asked not to be disturbed and died at 9:10 pm while meditating.
Courtesy:Yahoo.com
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HTC Butterfly 3 and HTC One M8i alleged details leaked online
The HTC One M9 is leaking constantly confirming its specifications and it is all set to go official on March 1st at the MWC 2015 tech show. In the meantime, it is claimed that the Taiwanese tech firm is planning to launch a Quad HD 5.2-inch smartphone called the Butterfly 3. This screen will definitely be very crisp as it packs enormous pixel density. But, the Butterfly lineup of smartphones is usually specific only to the Asian markets, and hence we need to wait to know if this device will be launched on a global basis this time.
10:59 PM / by Abhinaya
As per the leak by Twitter bound @upleaks, the Butterfly 3 is likely to go official sometime in the second half of this year. It is claimed that this smartphone will arrive with a 5.2-inch Quad HD 2560 x 1440 pixels and boast of a water resistant build as in its predecessor.
The source has also revealed that the vendor will launch the long rumored tablet. The slate is likely to be announced either in the second or third quarter of this year. The details about this tablet remain unknown, but it is claimed to be based on the Google Nexus 9 with an 8.9-inch display.
Besides these devices, the vendor is also said to launch a new a mid range smartphone that could be an alternative to the One M8. As per the source @upleaks, the One M8i is likely to boast of similar physical aspects and retain almost the same dimensions and weight as its bigger brother. In terms of specs, the device is said to carry a 5-inch Full HD display with 1080p resolution and use a Snapdragon 615 SoC with 2GB of RAM.
The other aspects of this device include BoomSound speakers, a 13MP and a 2MP main camera along with dual LED flash at its back. Also, it is likely to boast of a 5MP front facer for video conferencing and clicking selfies. The source claims that the One M8i will come with Bluetooth 4.1, NFC, a 3,000 mAh battery and run on Android 5.0 Lollipop with Sense 7.0 UI.
It is said that the One M8i will be launched in Asia, China and Europe, We can expect more information regarding the device to surface during the MWC 2015 HTC event on March 1st.
HTC HTC Butterfly 3 HTC M8i Leaks Rumors Z
Abhinaya


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Is Landscape Painting History?
Seeing the world as more than a backdrop or stage-set for unfolding narratives is the basic premise of landscape painting. It requires sensation rather than symbol to be the dominant motive. This is at odds with the corrosive didacticism of much academic art which looks for the obvious moral in every artwork. The recently set up Hadley's Art Prize – a $100,000 prize for an Australian landscape painting, is a case in point. It has been called a landscape prize when what they really require is history painting, and a certain kind of history at that.
Hobart hotel owner Don Neil has launched one of Australia's richest art prizes, with an annual $100,000 award for landscapes…. and this year invites artists to address the theme "history and place".
Artist and curator Julie Gough, who is one of the judges, says the award encourages artists to think beyond European concepts of landscape as depictions of sublime nature. "History is about story, and the entrants have to consider that as much as things such as vegetation and landforms," says Gough. "It will be interesting to see how people push that theme."
The Australian 27th Jan 2017
And here is Ben Quilty, judging the 2017 Glover Prize for Australian landscape painting and commenting:
"And I think the three of us wanted to pick a work that wasn't just a celebration of the aesthetics, the pretty landscape, but to engage more with those contested histories – what happened, not only here in Tasmania, but right across this country.
"For me, it's impossible to engage with ideas of landscapers and artists in this country without acknowledging all those histories and some of them are pretty gruesome and grotesque and people shy away from that, but it's for the arts community to step up and engage with it."
Ben Quilty March 10th 2017 ABC News website
Look deep into my eyes and tell me that you know they are talking nonsense. Do they really not know the difference between history painting and landscape? Are they seriously prepared to write off pretty much the entire 17th century and a lot of its progeny (basically right up to Seurat) and instead re- instate 18th and 19th century history painting – much of it the stultifying stuff against which modernism rebelled – as the one true artistic calling? Do the benefactors of these prizes feel robbed? This is genre reassignment by stealth.
For a Gordian knot of reasons, the 18th century is a lot more appealing to our current culturati. And it of course goes without saying that Rembrandt, Van Ruisdael, Lorraine, Corot, Turner and Constable did not spend their lives' energies and talents on sentimental prettiness. It's not Constable's fault that having forged an entirely new vision of landscape – the actual landscape with all the detritus of industry – that he was put on thousands of greeting cards. Not a fate likely to befall ascetics who prefer ideas to things.
But Constable's work should make it blindingly obvious that aesthetic aims are not divorced from either social commentary or profoundly revealing insights into the outlook of an epoch. Aesthetic aims are as much about the search for meaning as the most carefully constructed argument. This is because aesthetics are very closely related to value. It is a truism that we tend to think that what is beautiful is both good and true; this unlocks the values of previous ages to us in a way no illustration of dogma ever could.
The wilful ignorance about painting genres suits the aims of the current arts establishment which are much better served by history painting than landscape. The former is perfectly matched to the motives of the discourse people and when mixed with a little Duchampian fizz gives us badly painted sermons. Having decided both myth and religion are off limits, contemporary history painting is doomed to recycle post colonialism, globalisation, climate change and identity politics as subject matter.
The landscape painter essentially deals with space not narrative. Space is a metaphor, (as is light) a psychological force and a physical fact. Architects and emperors know how it works on our minds. Stand in Tien'Anmen square and feel the oppressive monumental symmetry of those rectilinear monoliths looming on every side. Or wander through the Sagrada Familia and let your thoughts unravel and entwine with the sinuous organic forms reaching up through a vast volume to the intricate ceiling. Pictorial space is equally eloquent.
Against the odds perhaps, we currently have a very exciting crop of landscape painters working and exhibiting in Australia. It's a travesty that you won't see their work in a hijacked landscape award. Although they work under the duress of a system that often denigrates their entire genre (never mind their actual work) very high quality pictures are being made. They continue within a vein of history that is vibrantly alive. Despite the marginalisation of landscape painting in the context of twentieth century abstraction and certain narrow readings of modernism, it has always remained a vital resource and practice for artists. Some of the most memorable Australian artworks from the height of modernism are landscape paintings such as Drysdale's Sofala (1948), Williams' Upwey Landscape (1966), Herman's Near The Docks (1949) and Smart's Cahill Expressway(1962).
Today landscape painting is widely practiced around the globe. It takes dedicated blindness to ignore highly acclaimed contemporary painters as diverse in their approaches as William Robinson (AUS), David Hockney (UK), Antonio Lopez Garcia (ESP) and Wayne Thiebaud (USA). Ranging from a high degree of urban realism (Lopez Garcia) to gothic-inspired forests and mountains (Robinson), massive installation paintings (Hockney) and stylised flattened forms that recall both mid century modernism and pop (Thiebaud) contemporary landscape painting is richly diverse.
I hope for a more inclusive approach to appear in the rather stifled environment of contemporary art in Australia. One in which landscape painting is not cannibalised by history painting or denigrated as sentimental stodge. And in which contemporary history painting stops serving up the thin gruel of discourse strained through disdain and instead grapples imaginatively with both painting as a medium with all its possibilities, and our diverse stories.
My own work has a very simple premise. It comes out of my interest in looking at things in the world around me and making pictures. My paintings come not from an analysis, but from an encounter. The work is not a proposition but a set of objects. On the other hand you will encounter recurring themes – I am fascinated by the juxtaposition of urban and natural forms, and the ongoing attempts to reconcile our lives with our places. I feel very passionately about the particularities of the volumes of space that are uniquely Australian. And I am very grateful for the vast resource of paintings made across history upon which we can draw, and without which, my work could not exist.
Categories Art Reviews and more Tags art exhibition, art prize, art review, Australian art, Hadley Art Prize, landscape painting Post navigation
'Afternoon Shadows'
The Humility of Hokusai
Sallie Moffatt


This is one of the coolest things we've ever heard of: watch the movie "Jaws" while floating in an inner tube at the Texas Ski Ranch.
The Alamo Draft House movie theater chain has a mobile screen that they take to various events. A few years ago, they started taking it to New Braunfels, Texas, and showing "Jaws" to patrons floating in inner tubes. They also have divers in the water, swimming around under folks and grabbing their legs during the film.
If you want to go in 2015, you're already too late. The next showing won't be until next summer.
This is at the top of our "must do in 2016" list!
Texas Ski Ranch is a 70-acre action sports paradise located in New Braunfels, TX. When it comes to wakeboarding and cable parks, TSR is consistently ranked as one of the top facilities in the world. With three cable systems and a boat lake there is truly something for all levels of water sports enthusiasts. First time riders can take advantage of our incredible coaching and beginner cables. More advanced riders can charge the park and hit structures.
What makes TSR unique is the culture and facilities surrounding the lakes. Riders can indulge in just about every board sport under the sun including snowboarding, skateboarding and SUP. Visitors can lounge on the beach, dine at Wahoo's Fish Taco or burn energy in Spring Loaded trampoline park. There is truly fun for the whole family!


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Not only does it make the consolidate debt in Mountain Home payments smaller and more manageable in Mountain Home Idaho, but it gives you some peace and less stress from the bills phone calls. Credit consolidating Mountain Home Idaho is the best way to get out of debt, no matter how small or large the debt is in Mountain Home. If you are having trouble keeping up in Mountain Home with your debts payments, then you need to talk to consolidate debt in Mountain Home company today.


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Q: Is it possible to synchronize vscode terminal emulator's working directory with an editor's? I'll like to have the terminal automatically change directory to the editor's current directory anytime I switch editor.
I'm used to this in Emacs so I was thinking if it was possible to make VSCode have this same behavior.

A: I do not believe this is supported out of box as of VS Code 1.24. However this could be implemented by an extension (see discussion here)
Implementing this will likely require this VS Code extension API addition: https://github.com/Microsoft/vscode/issues/46192

A: I have implemented a simple extension that does just this. Take a look at https://marketplace.visualstudio.com/items?itemName=maciejdems.terminal-sync.


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(AP) - I've said it before and I'll say it again: Home-grown tomatoes are NOT the best-tasting ones. Not necessarily, that is.
Now, I'm not advocating tossing in your trowel and doing your harvesting at the supermarket. What I am saying is that choosing the best variety is the important thing if you're looking to grow a great-tasting tomato. Grow an Early Girl to perfection, harvest it at its peak of flavor and take a bite, and you'll taste a good tomato. But not – in my opinion – a great tomato.
A tomato that has been handled carefully keeps pretty well for a couple of days, so you could actually buy a great-tasting tomato from a store or farm stand. But only if that tomato is a great-tasting variety.
Unfortunately, the best-tasting varieties don't usually have the qualities demanded of a commercial tomato: tough skins to withstand handling, high yields, concentrated ripening, disease resistance.
So you do generally have to grow your own to get the best taste. And now is a good time to start, by doing two things.
Try eating various kinds of tomatoes now, while they are abundant and tasty. Taste the varieties offered at farm stands and local farms, and those growing in the backyards of friends and neighbors. Cook up and taste any varieties you want to consider for canning, because cooking a tomato dramatically changes its flavor. A fresh San Marzano tomato tastes like cotton but cooks into a delectable sauce.
Fresh or cooked, you'll be amazed at the range in flavor among tomato varieties. Settle for nothing but the best.
Once you've found some great-tasting tomato varieties, plan for next year. If you have the variety's name, you may be able to find it in a seed catalog and simply order seeds for next season. Good sources for many tomato varieties include Tomato Growers Supply Company (888-478-7333, http://www.tomatogrowers.com), Totally Tomatoes (803-663-0016, http://www.totallytomato.com), Sustainable Seed Co., (877-620-SEED, http://sustainableseedco.com) and Seed Savers Exchange (319-382-5990, http://www.seedsavers.org).
But there's no need to forsake the best tomatoes just because you can't put a name on them. Many great-tasting tomatoes are nonhybrid, or heirloom, varieties. That means you can easily save the seeds.
Seeds from hybrid tomatoes also often yield plants with good-tasting fruits – sometimes even fruits identical to those from the mother plant – if they were called "hybrid" by seed sellers merely to discourage seed saving.
Saving tomato seeds entails nothing much more than squeezing a bit of the seed-gel mix out of the cavity of a tomato fruit into a glass. That gel contains inhibitors that keep the seeds from sprouting while still inside the fruit. Leach and ferment those inhibitors away by adding some water to the seed-gel mix. After letting the slurry sit for a day or so, pour it through a fine strainer, wash the seeds well in running water, and spread them out to dry. Now you're all set for good eating next year.
By the way, the tomato seeds I'm squirrelling away now are from the heirloom varieties Gardener's Delight, Belgian Giant, Amish Paste and Anna Russian, as well as the hybrid Sungold and two unnamed varieties passed down to me from a couple of local gardeners. Mmmm.


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HomeCommunityChurchesGrowing help for refugees from Leaside churches
Growing help for refugees from Leaside churches
May 1, 2015 Lorna Krawchuk Churches
In 1979 our family was part of a small group sponsoring a 20-year-old Vietnamese man, one of the thousands of Boat People fleeing Vietnam.
All these years later, our young man is still employed at the same bank where we first found work for him. He is married, owns a house and has two adult sons, one of whom has graduated from Laurier University in commerce and is now a CPA, the younger one in third year bioscience at Western University.
Their success story is what led me to this story.
The federal government has a Group of Five Sponsorship, where a small group can take on the same responsibilities to sponsor an individual or a group, without the need for formal incorporation.
The ongoing champion of a local sponsoring group has to be Leaside United Church at Millwood and McRae. Starting in 1979, with a family of five from Vietnam, their latest is a family of four from Iraq, with another 11 families in between, in addition to three families who were not sponsored refugees but received a lot of help from the LUC congregation.
Renee MacCarthy, of Bayview Ave., a parishioner at St. Monica's Church on Broadway Ave., went to a parish information meeting about refugee sponsorship two summers ago, firmly intending to listen, but not get involved. That changed when she was at the meeting, especially when she recalled that her father, who had recently died, had been involved with the sponsorship of Vietnamese refugees in the late 1970s.
She ended up being the person who stands up at the end of a church service to ask for donations towards the sponsorship.
The first time she made her plea, the collection was $3,500! They needed a total of $12,000. It took nearly a year to raise the money, and get others involved.
When their young man arrived in Canada, they were ready to get his paperwork in order for a SIN number and an OHIP card, but also to explore the city, go on bicycle rides, host him for regular dinners as well as special occasions like Thanksgiving.
They found him housing and helped with his job-search. In all, more than 80 members of the parish were providing practical help.
The pastor of St. Anselm's Church at MacNaughton and Millwood, Msgr. Marco Laurencic, intends that his parish will be involved in refugee sponsorship a bit later this year. They have already held a meeting with the Roman Catholic Office of Refugees, Archdiocese of Toronto (ORAT) to get information and advice on how to proceed.
At that meeting there were representatives from the Mandaean and Yezidi communities already in Toronto telling of the plight of their fellows still in the Middle East, waiting for sponsorship.
St. Cuthbert's Anglican Church on Bayview is near the beginning of the process, investigating whether to proceed with the help of the Anglican United Refugee Alliance (AURA).
zkrawchuk
About Lorna Krawchuk	138 Articles
Lorna Krawchuk is publisher of Leaside Life. She is actively involved in St. Cuthbert's Church. Her volunteer activities with the Leaside Property Owners' Association led to her being elected a Councillor in the Borough of East York for 9 years before amalgamation in 1998. She also held a variety of volunteer leadership positions with the Girl Guides of Canada for over 30 years. Lorna has been a Leasider since 1968.
I love my main street contest
Thinking behind RioCan's plans
Some former tenants back at Kelvingrove
January 1, 2016 Lorna Krawchuk Community
The red-brick apartments on the east side of Bayview between McRae and Sutherland were in the news six years ago when the owners originally had thoughts of evicting tenants and doing a complete re-build. After …more
Thanks to all our readers and advertisers
December 1, 2012 Lorna Krawchuk Stories
Happy first birthday to us! First off, thank you for your encouraging words and interest in our newspaper. And thank you to our advertisers, for without those advertising dollars, there would be no paper. In …more
Syrian refugee family arrivals here have started
February 1, 2016 Lorna Krawchuk Churches
**UPDATE: The St. Augustine refugee family arrived January 15. The St. Anselm family was to arrive January 21. The Church of St. Augustine, on Bayview, has partnered with St. Matthew's Church, in Riverdale, and knew …more


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Q: KeyError: 'MYSQL_UNIX_SOCKET' Error while using flask_mysqldb in Flask app Edit 1
I created a hosted mysql instance on digital ocean and I am getting a new error.
I get the following
TypeError: an integer is required (got type str)
I have a flask application I am working on and I am getting an error while using flask_mysqldb
Here is the error I am receiving
KeyError: 'MYSQL_UNIX_SOCKET'

My directory structure is

*

*main.py

*auth.py

*website

*

*templates

*static

*__init__.py
In my init.py I have the following
from flask import Flask
from flask_mysqldb import MySQL

def create_app():
    app = Flask(__name__)
    app.config['MYSQL_USER'] = 'flask'
    app.config['MYSQL_PASSWORD'] = 'mypw'
    app.config['MYSQL_HOST'] = 'localhost'
    app.config['MYSQL_DB'] = 'flask_test'
    app.config['MYSQL_CURSORCLASS'] = 'DictCursor'
    app.config['MYSQL_PORT'] = '3306'

    from views import views
    from auth import auth

    app.register_blueprint(views, url_prefix='/')
    app.register_blueprint(auth, url_prefix='/')

    return app

and in my auth.py I have the following as you can see I am attempting to print out the result to the console.
If I move the the code for mysql into my main.py it does work and I am able to print out the data. Its only when I attempt to use the mysql code within my auth.py that I get the error.
from flask import Blueprint, render_template, request, flash
from flask_mysqldb import MySQL
auth = Blueprint('auth', __name__)

@auth.route('/sign-up', methods=['GET', 'POST'])
def sign_up():
    mysql = MySQL()
    cur = mysql.connection.cursor()
    cur.execute('''SELECT * FROM peeps''')
    results = cur.fetchall()
    print(results)

    return render_template("sign_up.html")

A: because of the app.config['MYSQL_HOST'] = 'localhost', you are using unix socket to connect the mysql. you could change MYSQL_HOST to ip address , in order to use TCP/IP to connect the mysql.

A: I was providing a string for the port number rather than an integer


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The National Democratic Party () is a political party in Morocco. Its current leader is Abdellah Kadiri.

History and Profile

The party was established 1981 as a split from the National Rally of Independents.

At the last legislative elections, 27 September 2002, the party won 12  out of 325 seats. In the parliamentary election, held on 7 September 2007, the party won 14 out of 325 seats together with the Al Ahd with which it formed an alliance, called the Covenant Party.

It decided to merge into the Authenticity and Modernity Party in 2008, but then decided against this move later.

References

1981 establishments in Morocco
Political parties established in 1981
Political parties in Morocco

redpajama_set_name: RedPajamaWikipedia