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Posted on February 28, 2018	by karenkahn33
SAFE supports building offshore wind turbines on the North Shore that will connect their generated power into the grid on the Footprint site in Salem. SAFE advocated for a Community Benefits Agreement (CBA) between the City of Salem and Footprint and in the final version of the CBA (2014) this language is included under Environmental Initiatives: "Footprint RealCo will support renewable energy initiatives, and will work with the City to assist with off shore wind interconnections to the National Grid switchyard on the site."
There are promising signs now from Scotland that offshore floating wind turbines will perform very well. That means that the North Shore of Massachusetts with its excellent wind resources is a potential site for turbines. Statoil placed 5 floating turbines with a maximum capacity of 30 MW off the coast of Scotland and they are exceeding all expectations in delivering energy.
Five years ago, Statoil most was working on developing offshore wind in Maine until Governor Paul LePage blocked their efforts. Statoil withdrew in 2013 citing regulatory instability in the state. Let's try to interest Statoil in Massachusetts where we need more renewables to meet the goals of our mandated Renewable Portfolio Standards under the Global Warming Solutions Act. And we now have a more hospitable political climate for offshore wind.
Climate Action reports on its website that Scotland is again leading the way in wind. Most of the country's power comes from onshore wind turbines and hydropower. Now there's offshore wind.
There in that rugged climate, the "world's first floating offshore wind farm has performed better than expected after its initial three months of operation." Read more.
Posted in offshore wind, wind power
Posted on March 7, 2017	by davrow53
A wind farm using promising new technology is proposed for deep ocean off the California coast
BY PAUL RAUBER | JAN 13 2017 | Sierra Club.org
Martha's Vineyard, it turns out, wasn't the best place to launch the first offshore wind farm in the United States. Back in 2001, when Cape Wind Associates proposed installing 130 wind turbines across the Horseshoe Shoal, it cited the abundant renewable energy the installation would deliver to tens of thousands of homes. Those turbines, however, would have stood within sight of those same communities, which include popular tourist districts and the private compounds of the Koch brothers and the Kennedys. The issue of wind-turbine visibility is a peculiar one—after all, there are plenty of highly visible coal, nuclear, and solar facilities, compared to which wind turbines have a certain majestic grandeur—but it clearly contributed to sinking Cape Wind. After years of well-funded opposition, the project fell apart in late 2014. While the great wind powers of Europe—Denmark, Germany, the United Kingdom—were planting turbines at a furious pace in the shallow bottoms of the Baltic, the Dogger Bank, and the North Sea, the U.S. wind industry appeared dead in the water.
Read more: http://www.sierraclub.org/sierra/2017-1-january-february/feature/floating-wind-turbines-could-power-west-coast
Posted in clean energy, offshore wind
Posted on February 6, 2017	by davrow53
By DIANE CARDWELL
New York Times Jan. 21, 2017
Only a few years ago, the long-held dream of harnessing the strong, steady gusts off the Atlantic coast to make electricity seemed destined to remain just that. Proposals for offshore wind farms foundered on the shoals of high costs, regulatory hurdles and the fierce opposition of those who didn't want giant industrial machinery puncturing the pristine ocean views.
Now the industry is poised to take off, just as the American political landscape and energy policy itself face perhaps the greatest uncertainty in a generation.
Last fall, five turbines in the waters of Rhode Island — the country's first offshore farm — began delivering power to the grid. European energy developers like Statoil and Dong Energy are making big investments to bring projects to American waters. Last year in Massachusetts, Gov. Charlie Baker, a Republican, signed into law a mandate that is pushing development forward.
And in New York, after years of stymied progress, the Long Island Power Authority has reached an agreement with Deepwater Wind, which built the Rhode Island turbine array, to drop a much larger farm — 15 turbines capable of running 50,000 average homes — into the ocean about 35 miles from Montauk. If approved by the utility board on Wednesday, the $1 billion installation could become the first of several in a 256-square-mile parcel, with room for as many as 200 turbines, that Deepwater is leasing from the federal government.
Posted on August 23, 2016	by alanh1954
A just-completed project off the coast of Rhode Island, though relatively tiny, is at the forefront of a sea-based transition to renewable energy.
The Block Island Wind Farm recently finished construction of wind turbines. They will start capturing wind power by October of this year, and will generate enough electricity to power about 17,000 homes.
From New York Times contributor, Justin Gillis:
By global standards, the Block Island Wind Farm is a tiny project, just five turbines capable of powering about 17,000 homes. Yet many people are hoping its completion, with the final blade bolted into place at the end of last week, will mark the start of a new American industry, one that could eventually make a huge contribution to reducing the nation's climate-changing pollution.
The idea of building turbines offshore, where strong, steady wind could, in theory, generate large amounts of power, has long been seen as a vital step toward a future based on renewable energy. Yet even as European nations installed thousands of the machines, American proposals ran into roadblocks, including high costs, murky rules about the use of the seafloor, and stiff opposition from people who did not want their ocean views marred by machinery…
Mr. Grybowski and the company he runs, Deepwater Wind of Providence, R.I., have now done it. They had a lot of help from the political leadership of Rhode Island, which has seized the lead in this nascent industry, ahead of bigger states like New York and Massachusetts.
Now, offshore wind may be on the verge of rapid growth in the United States.
Using a law passed by a Republican-led Congress in 2005 and signed by President George W. Bush, the Obama administration has been clarifying the ground rules and leasing out large patches of the ocean floor for wind-power development. Nearly two dozen projects are on the drawing board, with some potentially including scores of turbines…
One of five turbines that make up the Block Island Wind Farm, the first offshore wind farm in the United States, off the Rhode Island coast. Credit Kayana Szymczak for The New York Times.
Posted in Block Island Wind Farm, clean energy, offshore wind
Installation is now complete at the new Block Island wind power facility. On August 8, one member of the team tweeted, "I think it now qualifies as a 'farm' -2nd turbine completed last night #BlockIslandWindFarm@DeepwaterWind "
From the blog of Greg Alvarez, on the American Wind Energy Association's website (awea.org) —
American offshore wind power is one step closer to becoming a reality, with installation of the first turbines at Deepwater Wind's Block Island project now complete.
Construction on the country's first offshore wind farm began last spring, off the coast of Rhode Island, and the project is expected to be fully operational later this fall.
With an installed capacity of 30 megawatts, the five-turbine Deepwater Wind wind farm will generate enough electricity to supply all of Block Island's needs, while also sending some to mainland Rhode Island. This will be a clean, affordable and welcome development for Block Island's residents, who have long had to rely on imported, expensive and polluting diesel fuel for energy.
The Deepwater Wind offshore project is expected to be fully operational later this fall.
France launches tender for floating wind farm – world's first
Posted on August 19, 2015	by davrow53
RenewEconomy
By Sophie Vorrath on 7 August 2015
France has launched a tender for what would be the world's first large-scale floating wind farm, inviting companies to submit proposals for installations off both its northern and southern coasts.
French environmental agency ADEME posted a tender document on Wednesday calling for proposals for wind farms of between three to six turbines, with the capacity for at least 5MW per turbine, at three sites in the Mediterranean and one site in the Bay of Biscay, off the southern coast of Brittany.
As Reuters reports, floating wind technology aims to remove limitations for offshore wind farms, which are foundation-based and restricted to sites up to 50m in depth.
The technology has been pioneered by Portugal and Norway in the past few years, each with a single floating turbine, and Portugal plans to build a 25 MW floating wind demonstration farm.
The French project will be the first to test floating offshore wind on a large scale, however, as part of a push by the government to encourage the transition from a nuclear-heavy energy market to one that produces at least a third of its energy through renewables.
According to Reuters, the French government has made €150 million ($1US63.53 million) available for the cutting edge project, a third as investment subsidies and two-thirds as loans.
Feed-in tariff bids could range between 150 to 275 euros per megawatt, according to industry specialists, who expect the government will select two or three bids with a total combined capacity of 45 to 100 megawatt, depending on the number and size of the turbines proposed.
Bidders will have to propose how much capacity they would want to build and specify what sort of feed-in tariff they hope to get for any electricity produced.
According to the tender document, turbines must have a demonstrated lifespan of at least two years, though the government expects the projects — if chosen and constructed — to last at least 15 to 20 years. The tender will be open for submissions through April 4, 2016.
http://reneweconomy.com.au/2015/france-launches-tender-for-floating-wind-farm-worlds-first-45179
Amazon Invests Big in Wind Power
Posted on August 3, 2015	by davrow53
by Gina-Marie Cheeseman on Friday, Jul 17th, 2015
triplepundit.com
Amazon is more than just an online store. It's a company that invests in renewable energy. Amazon Web Services (AWS) recently announced that it contracted with Iberdrola Renewables to build and operate a 208 megawatt wind farm in North Carolina's Perquimans and Pasquotank counties. When completed, it will be the first utility-scale wind farm in the state.
Called the Amazon Wind Farm U.S. East, it is expected to come online in December 2016. It will generate approximately 670,000 megawatt hours of wind energy a year. That's enough to power over 61,000 American homes annually. The energy will be delivered to the electrical grid that supplies AWS Cloud data centers.
In November 2014, AWS announced its commitment to achieve 100 percent renewable energy use globally. In April, the company announced that about 25 percent of the power it used globally comes from renewable energy. The goal is to increase that figure to at least 40 percent renewable energy use by the end of 2016.
In January, AWS announced a renewable energy project called theAmazon Wind Farm (Fowler Ridge) in Benton County, Indiana. It is expected to generate 500,000 MWh of wind power a year, or the annual energy usage of 46,000 American homes, and is expected to come online in January 2016. The energy generated will also be used to help power AWS Cloud data centers.
AWS doesn't just invest in wind power to help meet its renewable energy goals. Last month, the company announced a solar power project called Amazon Solar Farm U.S. East in Virginia, which is expected to generate 170,000 MWh of solar power a year. It is expected to come online in October 2016 and will be the largest solar farm in Virginia with all energy generated powering AWS Cloud data centers.
Combined with the North Carolina wind farm project, Amazon's renewable power projects will deliver over 1.3 million MWh of power, or enough energy to power 15,000 American homes a year.
The huge potential for wind power in the U.S.
Amazon's investment in wind farms is smart given the big potential for wind power in the U.S. Currently, wind power generates enough electricity to power over 11 million American homes, according to theNatural Resources Defense Council (NRDC). In some months, wind power generates 6 percent of the nation's electricity — but that doesn't begin to touch its potential. Some experts think wind power could generate 30 percent of electricity needs in the U.S.
Investing in wind power is one way to reduce carbon emissions. Climate science experts say that carbon emissions need to be reduced to from the current 400 parts per million (ppm) to 350 ppm in order to avoid the worst impacts of climate change. So, wind power, and renewable energy in general, is good for the environment and the economy. The current wind power sector provides jobs for at least 75,000 Americans. A 250 MW wind farm (about 100 turbines) creates 1,073 jobs over the lifetime of the project. That's the ole triple bottom line at work.


It seems to be in St Cuthberts parish, I'm not sure what area that is on census records.
I put police Edinburgh in 1851 on freecen.org.UK and got 157 hits!
The Old Church records are all in one household in Chessels Court, obviously Police Station.
If he was a Constable on the census too that may narrow the list down.
At the time of the 1851 census, it looks like Freer Street had not been built. The 1851 Ordnance Survey map shows that it had not been built at that time.
Freer Street was off the south side of Fountainbridge, immediately west of where Fountainbridge went over the Union Canal. It is shown as open ground with trees on it on this map.
The Edinburgh street index for the 1851 census doesn't show Freer Street.
Freer Street does not appear in the 1861 census Edinburgh street index.
Freer Street does appear in the 1871 census Edinburgh Street index.
In 685/1, enumeration district 23. In 1871, Enumeration District 685/1 was Edinburgh City, St George District.
Going by the various maps on the following webpage, Freer Street was built in stages from about 1864 to 1870.
On that basis, your policeman was not living in Freer Street in c1850.
Which begs the question David, what do you have that made you think that?
Certificate, family tales [there's usually a grain of truth in them], newspaper cutting or what?
Do tell, as we love unraveling a mystery.
I am tracing family via Ancestry .
He died in Northumberland in 1965 .
So I have realised that it must be my great grandfather James Irving dob 1860 living at no 5 Freer st Edinburgh in 1885/6as a Police constable .
It maybe my grandfather James J Irving was born there but I have found him living in Gretna in 1891 as a 4year old with his grandfather William Hamilton !!
There is a James J Irving in Edinburgh in 1881 - but he's an unemployed tailor from Annan in Dumfrieshire aged 22 . Wonder if he made the leap to Police if he couldn't find work? Annan isn't far from Gretna.
The valuation roll for 1885 does indeed have him living there.
I'm not sure if the actual record will give much or any more information.
Many thanks for taking the time with my query .
It actually brings up more questions !!!
At least I have the right person ! And he was at 5 Freer street .
It opens up other problems as I am struggling to find his wife and family now .
My mother Mary J Irving was born in Northumberland and lived in Kirkwhelpington .


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susane lee
Susane Lee started her writing career in television at WGBH/Boston with the NOVA Science Series, followed by WNET/NYC and Nature. She produced & wrote WILD TV, a series on urban wildlife, for WNET. Susane traveled to more than 100 cities across the U.S. as a Writer and Producer of one-hour documentaries, winning a PBS Communications Award in 1999. Susane is the Executive Artistic Director of Hudson Classical Theater Company, a nonprofit theater company that's currently in its 18th season. Susane has written numerous adaptions of classical works. Susane took six novels of Alexandre Dumas and wrote The Three Musketeers (2017), The Three Musketeers: 20 Years Later (2018), The Man in the Iron Mask (2019), and The Count of Monte Cristo (2021), for HCTC's summer stage. Susane has written original adaptations of Jane Austen's "Pride & Prejudice" (2019) and "Sense & Sensibility (2020). Susane adapted a stage version of the Hollywood Film Classic, His Girl Friday (2017) (which she also directed), and Lysisarah: Make America Great Again! (2016) an original adaptation of Lysistrata, which she directed. As a director, Susane has directed many screenplay reading series with the Writers Guild of America, East at the Lincoln Film Center and at The Guild. In 2016 & 2017, Susane was nominated for Best Director in the Take Ten Festival & in 2018, finalist for Best Play. She has also directed for many years with the Women a Year 365 Festival. Susane was a NY Foundation for the Arts Fellowship recipient for Nonfiction Literature in 2005 and an Urban Artist Initiative Grant Fellow for Fiction in 2006. Her memoir was published in MORE magazine in 2010. Susane is a Lifetime Member of the WGAE & member of SAG/AFTRA. Susane was Finalist for the 2013 Wai Look Award, by the Asian American Arts Alliance for those "who outstandingly contributed to the arts.
WEBSITE AND SOCIAL MEDIA:
Website: http://www.hudsonclassicaltheatercompany.org/index.php
Facebook: https://www.facebook.com/groups/hudsonclassicaltheatercompany
MORE ABOUT ME:
The most gratifying moment I had was in the Brooklyn jail. After we performed, we introduced ourselves and said our theater company performs summer theater in Riverside Park. One inmate immediately said, "I've been to your shows! I saw your 'Three Musketeers.' I appreciated seeing a high quality production when I was broke." That crystalized why I do what I do: to bring theater to those who don't have easy access to the arts. After a show in the park, audience members thank me profusely for bringing theater to the city and making it so accessible and enjoyable. So our not having reservations in advance and only asking audiences to pay what they can helps bring arts to all. The play that changed my life was my adaptation of "Lysistrata." It was 2016 and the only war I saw was the political war and the presidential election. So using that play as a framework, I created a comedy/musical and created characters from the people in politics at the time. I took dialogue from these people verbatim, added my own script, and created a wholly original adaptation of this classic play. I wrote it overnight and it was produced with very minor tweaks. The response to this play was phenomenal and made me trust my ability to write enjoyable, meaningful adaptations of classical work. People may not know that my father is North Korean and my mother is South Korean. These dual aspects of my upbringing shaped me completely and helped form the writer I am today. Growing up in Southern Virginia, where we were the only Asian family in the county, also made me a writer. From the age of 7 to 17, I had no friends. I was very shy and an outsider. This solitary life made me a writer because that's all I did growing up.
WHAT I'M WORKING ON:
I am currently reading Frankenstein (M. Shelley) as my next potential stage adaptation for Hudson Classical Theater Company. I'm also toying with an original adaptation of Emma (Jane Austen) for next summer, to produce in our outdoor space. I'll read that novel once I'm finished with Frankenstein! I'm also looking for a bigger space for my theater company. We have our costumes, props, weapons, and other production materials scattered all over the city: in storage units, in people's homes, in our tiny apartment. It's not tenable. I am looking very hard for a space large enough to accommodate our company.
Korean, Buddhist, Adaptations, Biography, Period, Satire, Thriller, Historical
aj davenport (HR! ALLY)
I've been doing theater in the Bay Area since 1995. I'm a member of Multi Ethnic Theater, Custom Made Theater, and Left Coast Theater. In addition I own my own small walking tour company for which I have developed several tours in addition to doing already established tours. I'm at my best when performing and want there to be more opportunity for "mature" actors.
Website: http://www.foottours.com
Facebook: AJ Davenport
While I will never be wealthy acting it makes my life rich! I've had multiple opportunities to play a wide range of characters. I really love the challenge of doing new works by emerging play rites.
Just finished a stage and film project with Multi Ethnic Theater that spanned 18 months. I can't wait till we can all be back in the theater!
Queer, Agnostic, Political, Historical, fantasy, period, adaptations.
theresa rebeck
Theresa Rebeck is a prolific and widely produced playwright, whose work can be seen and read throughout the United States and abroad. Last season, her fourth Broadway play premiered on Broadway, making Rebeck the most Broadway-produced female playwright of our time. Other Broadway works include Dead Accounts; Seminar and Mauritius. Other notable NY and regional plays include: Seared (MCC), Downstairs (Primary Stages), The Scene, The Water's Edge, Loose Knit, The Family of Mann and Spike Heels (Second Stage), Bad Dates, The Butterfly Collection and Our House (Playwrights Horizons), The Understudy (Roundabout), View of the Dome (NYTW), What We're Up Against (Women's Project), Omnium Gatherum (Pulitzer Prize finalist). As a director, her work has been seen at The Alley Theatre (Houston), the REP Company (Delaware); Dorset Theatre Festival, the Orchard Project and the Folger Theatre. Major film and television projects include Trouble, starring Anjelica Huston, Bill Pullman and David Morse (writer and director), "NYPD Blue," the NBC series "Smash" (creator), and the upcoming female spy thriller 355 (for Jessica Chastain's production company). As a novelist, Rebeck's books include Three Girls and Their Brother and I'm Glad About You. Rebeck is the recipient of the William Inge New Voices Playwriting Award, the PEN/Laura Pels Foundation Award, a Lilly Award and more.
Website: https://www.theresarebeck.com/
Twitter: https://twitter.com/theresarebeck
My most gratifying moment in the theater was a moment when I was directing. It was a play called "Dropping Gumballs on Luke Wilson" written by the great Rob Ackerman. I directed it for the Working Theater which is a small and mighty production company run by working men and women, supported by unions. The design team I worked with was so fresh and original. They stunned me every time I turned around and something new was added to what was essentially a bare bones production. Justin and Christopher Swader, the set designers, gave me a bare stage but painted the walls green. Then we discovered how much lights could do with bright green walls. The answer is: A lot. I also had an incredibly game cast and we all had a remarkable time and the play was beautiful and really funny. It reminded me of how little money you need to make great theater.
I have two plays that I wrote during the pandemic that are starting to work their way through the system. I'm really excited about both plays and they are very different from each other. I also have a screenplay that discusses the Catholic Church which I've always wanted to write about.
I love all words. Mostly.
donna latham
Donna Latham's a feminist playwright from Chicago. Her plays have been produced coast to coast in the US and in Northern Ireland, Ireland, England, France, Scotland, and Indonesia. They're published with YouthPLAYS, Next Stage Press, and Smith Scripts and anthologized in Best American Short Plays 2016-2017, Best American Short Plays 2014-2015, 2016's Best Ten-Minute Plays, and She Persisted: New Plays By Women Over 40, 2021. A resident playwright at Rising Sun Performance Company in NYC and KCACTF David Mark Cohen Playwriting Award Finalist, Donna's a proud member of the Dramatists Guild.
Website: http://donnalatham.com
I grew up in a haunted house in the wilds of Mt. Prospect, and I've been fascinated by ghosts forever. No wonder they keep bursting into my plays....I've always loved storytelling in all its forms. Theatre's intense connection to humanity keeps me writing for performance.
YELLA JACK, a darkly comic and surrealistic Southern Gothic piece set during the 1878 Memphis yellow fever epidemic, written in pandemic lockdown.
Feminist, women, collective trauma, memory, historical, period, surreal, ghosts, Southern Gothic, family, thriller, satire, parody.
arden kass
Arden Kass is an award-winning playwright, lyricist, screenwriter and independent producer of live theatre. Born and raised in New York, Arden studied poetry and comparative literature at Cornell, slogged through every paid writing gig imaginable, then pledged her heart and considerable passion to the pursuit of theatre and film projects that feel personally satisfying and meaningful. Her theatre projects largely focus on the lives and experience of women. Her all-women vaudeville with music, Behold Her: Five Thousand Years of Jewish Women and Beauty, produced at the 2018 Philadelphia Fringe Festival, is in development for a commercial run in New York. Her drama Appetite was a 2014 semi-finalist for the O'Neill Theatre Conference. It received an industry presentation at London's Royal Academy of Dramatic Art with a cast including Miriam Margolyes, Tamsin Grieg, Jemma Redgrave, and Jason Isaacs. She has been a finalist at Red Bull Theatre and the Humana Festival. Current projects include two musicals: Daddy's Girl, featuring a feminist academic and her showman father who invented the push-up bra, and Alpha Gals, an all-ages, rock & hip-hop update on the myth of Athena and Arachne. Arden writes screenplays with Mark Gallini, has worked as a freelance scriptwriter and copywriter, published essays and features, written A & E Biography episodes on rock stars and performed her humorous monologues on WXPN Radio's Morning Show. Arden belongs to the Dramatists Guild, Playwrights Gallery and BMI Musical Theatre Workshop in New York and has raised two wonderfully functional young adults, each with a lively social consciousness.
Website: http://ardenkass.com
Instagram: @playwrightarden
Facebook: arden.kass
In 2014, appalled by the (politically motivated) decline in educational resources, programs and facilities in Philadelphia schools, I conceived and co-created a live documentary-style play dramatizing the real-life consequences of the dismantling of Pennsylvania's public education system. Crafted from over 100 interviews with Pennsylvania residents, School Play premiered at the National Constitution Center, popped up in well-trafficked public spaces and toured the state for several weeks in 2015. The activist and educational aspects of this project, and its profound emotional impact on audiences and students energized and delighted me and is one of my proudest accomplishments. It drew on all the skills I had amassed in a long and diverse career. I would do more of this work in a heartbeat, but this time, with sufficient funding. And yes, I believe theatre has the power to change hearts and lives. To answer a related question, I deal with disappointment by re-immersing myself in my work, worshipping in art museums and spending time outdoors, preferably in the Southwest. I may not be as hip as I was at 27 or 37, but I am a hell of a lot smarter.
I just finished a new play, tentatively titled Ms. Unpopularity. When a theatre organization faces accusations of sexual harassment and racial discrimination post Me Too, it sparks a series of interconnected personal reckonings and reassessments. 5 women, 1 (possibly pre-recorded!) man
Women, drama, humor, historically inspired, site-specific, myth, interdisciplinary, Jewish, food, feminism, musical, all-ages, verse, lyrics, magical realism, monologues, lingerie, cake
susan jennifer polese
Susan Jennifer Polese, MS LCMH, is an American dramatist, journalist, editor, and psychotherapist/mental health counselor certified in crisis care. She is an award-winning playwright whose work is seen regionally, Off-Broadway and at such venues as La Mama Experimental Theatre Club, HERE Performing Arts Center, The Midtown International Theatre Festival, and Planet Connections Festivity in Manhattan, NY. Trained in New York at The Wonderhorse Theatre, Herbert Berghof Studio, and Hunter College Susan taught playwriting through Purchase College, Axial Theatre Collaborative and is facilitating "Playwriting in Paradise" at Key West Fringe Theatre, Key West, Florida. She is published in the Alexander Street Contemporary World Drama Collection. Her work is fueled through social justice and is often performed as fundraisers/awareness enhancers for non-profits. Susan is a member of The International Centre for Women Playwrights and Theatre Without Borders. She attended La Mama's International Playwright Retreat in Umbria, Italy and was awarded an artist-in-residency at Bethany Arts Community, 2020. Susan is a member of The Dramatists Guild of America.
Website: http://www.susanjenniferpolese.com/
Facebook: https://www.facebook.com/susan.polese
Instagram: https://www.instagram.com/susalita3560/
I was fortunate to experience a production of Curse of the Starving Class by Sam Shepard in the 80s and was transfixed. Later that very week I saw Christopher Durang's The Actor's Nightmare on stage with Sister Mary Ignatius Explains It All. Seeing each of these visionary – albeit very different – productions while I was just beginning to study playwriting fueled my interest in the craft and paved the way to the development my own style and seeing the world through writer's eyes. Fast forward to seeing Doubt by John Patrick Stanley on Broadway and once again I was thrilled. Fast forward again to Slave Play, the last show I saw before the first lockdown. The inspiration never ends! Live theatre means the world to me – it's the collaborative nature of the endeavor. I would like directors to know that I yearn for collaboration, input and sharing a vision. I become enlivened by the experience of getting my work on stage. I have had very good/intense relationships with directors, and I am always interested in their take on my work.
I am working on a full-length play about my parents' experiencing in 1951 Georgia as a transplanted, newly married military couple (from the Bronx!) living with a Southern family. It's the most personal story I've told so far. I am having a composer create a score for the show and it takes place pre-civil and women's rights. It's interesting to write a period piece and I look forward to bringing it an online platform as well as live performance. It's entitled Two Junes & No July. I'll keep you posted!
Political, Satire, Period, Social Justice, Comedy
barbara bellman
After a career in advertising and marketing, Barbara re-careered to her primary love: writing, and earned first an MFA in Creative Writing (StonyBrook University -2012) and an MFA in Musical Theatre Writing (NYU/Tisch - 2018). She is a member of the BMI Librettists and an alum of the BMI Lyricists, a member of the Dramatists Guild and Founder of Philadelphia based MusiColab. Her plays and musicals have been recognized by the O'Neil Festival (semi-finalist), Broadway Bound (finalist) and NAMT (development grant through 11th Hour Theatre), Emerging Artists Theatre (The Word Police; Flirting After Fifty, the DC Swan Festival (Words Fail Me) and published in The Southampton Review. She is a published author and national speaker. Though a late-comer to theatre, Barbara is determined to catch up.
Website: www.barbarabellman.com
Like many writers of a certain age, my life has been filled with decades of experiences that have informed me, challenged me, lifted me up and broken my heart. And like many writers, I look to these experiences as the stuff stories are made of. I write to explore life through the eyes of my characters, like putting on costumes and assuming different roles. It's why I go to the theatre as well – to immerse myself in the world created by the playwright, brought to life by the actors. For me, it's not escape, but a deeper dive into other worlds. If I could change one thing about theatre it would be to have artistic directors and literary managers recognize that creators are ageless – but age does offer wisdom, experience, and historical context–to provide perspective on how to navigate these times. If I had one wish, it would be for there to be a theatre dedicated to works by older playwrights, to bring these talents out into the open so what they have to offer can be SEEN and HEARD.
WHA T I'M WORKING ON:
I am currently working on BORDELLO, a historic musical set in the 1920s in Buenos Aires that features an unlikely heroine - Raquel Liberman – a Jewish Prostitute who had the courage to bring the notorious organization of white slave traders to trial.
Jewish, Family, Historical, Comedy, Musical, Young Audiences, Heroic
pamela morgan
Pamela Morgan hails from the south side of Chicago and has worked with various theatre companies for over two decades, primarily in tech and directing. She now resides in Central Illinois. Her plays have been produced and performed across the United States and in Australia. Her one-act Senior Moments won Best Show in the Triangle Rainbow and Riant Theatre's LGBTQ Short Play Festival and has been produced by Theatre Three and Irvington Theatre. Her publications include: When Life Gives You Lemons, The Battle of Wills, and Senior Moments (Smith Scripts), Shapes In the Clouds (220 Publishing), Mostly Me (The HerStories Project Press), and All Kids Lie (Chicago Story Press Inc.). She obtained her teaching license for Elementary and Special Education in 2015 and is currently working towards her MFA in Creative Writing through Augsburg University. Pamela co-founded This Moment Productions, a virtual theatre company with the goal of making theatre more equitable, inclusive and diverse. They continue to push the boundaries of virtual theatre and technology, bridging the gap between stage and film.
Website: https://newplayexchange.org/users/57532/pamela-morgan
Why do I keep doing theatre? Is that even a question? I have been doing theatre my whole life. My parents first dragged me to rehearsals when I was six years old, community level musicals. I passed the time by learning what the pianist did and helping him turn the pages during the performances. By ten, I was on the stage, by 15 I was doing lights and sound, by 20 I was writing and directing. And now my children are involved! Theatre is community. It's family. It's the thing that gets me through the difficult, stressful, boring, repetitive parts of my day. It feeds my soul and nourishes my spirit. I don't think I have any choice but to do theatre.
I have finished a first draft of a full length dark comedy inspired by a poem, that I'm hoping to workshop soon. I'm also starting research for a full length drama centered around suicide.
Queer, abortion, faith, suicide, mental health
Suzanne Bradbeer
Suzanne's plays have been produced across the US. Productions include: CONFEDERATES (TheatreWorks – Silicon Valley, Weissberger and Susan Smith Blackburn nominations, Kilroy's Honorable Mention); THE GOD GAME (Pulitzer nomination, over a dozen productions including the co-premiere between Capital Rep/Gulfshore Playhouse); NAKED INFLUENCE (Capital Rep); SHAKESPEARE IN VEGAS (Houston's 4th Wall Theatre, Dreamcatcher Rep/PTNJ, TheatreWorks – Silicon Valley Play Festival starring Patrick Page and Karen Ziemba) and FULL BLOOM (Barrington Stage - Osborn New Play nomination from the American Theatre Critics Association; Hudson Stage, etc.). HONORS: NYFA Fellow, Lark Fellow (and featured writer), Ashland NPF, the Berrilla Kerr Foundation Grant, the Coe College Playwriting Prize, and the BMI Foundation's Harrington Award. Suzanne was twice the winner of the NEXT ACT! New Play Summit at Capital Rep, twice an Honorable Mention for the Kilroy's List, and was the silver prize winner for the Hart New Play Initiative. RESIDENCIES include: The New Harmony Project, PlayPenn, the LAByrinth Theatre Company's Summer Intensive, the Lark/Rebeck/DTF Writers' Retreat, and the Alabama Shakespeare Festival's Southern Writers' Project. PUBLICATIONS: Playscripts, Samuel French, HowlRound, Applause Books, the Connotation Press, multiple Smith & Kraus anthologies. Suzanne was the keynote speaker for the TheatreWorks – Silicon Valley 2018 New Works Festival, which launched their Tony-winning season. She is a member of the Ensemble Studio Theatre and the EST Playwrights Unit, the Dramatists Guild, Honor Roll!, an alum of Project Y's Writers Group, is a regular moderator at the Actors Studio Playwright/Director Workshop, and teaches playwriting at Primary Stages, ESPA. A highlight for Ms. Bradbeer was her work as a dramaturg for Arthur Miller and Jim Houghton on Signature Theatre Company's production of THE AMERICAN CLOCK. REPRESENTATION: Amy Wagner at A3 Artists Agency.
WEBSITE: https://newplayexchange.org/users/3077/suzanne-bradbeer
Twitter: @SuzanneBradbeer
What play or production changed your life? WHEN YOU COMIN' BACK, RED RYDER? I auditioned on a whim; acting in that ensemble production terrified and thrilled me and pushed me into the theater. What's the one thing (almost) nobody knows about you... I used to work for John McEnroe and Tatum O'Neal. What is your favorite thing to do when you're not writing? Daydream. Listen to podcasts. Oh, and watercolor - I'm quite terrible at it but I'm also kind of obsessed.
WHAT I'M WORKING ON NOW:
Several things: I GOT YOU, a play about a wildly talented but self-destructive athlete; GHOST TREES, a play about wildfires and an imploding family; I'm also working with songwriter Gary Negbaur on an UNTITLED Christmas musical and am in post-production for my film CONSIDER THE SPARROW.
Tragi-comic, strong female leads, politics, faith, musical theater, librettist, magic realism, young audiences, journalism and media, holiday, Christmas, Halloween, climate.
wendy-marie martin
Wendy-Marie Martin is a playwright, dramaturg, and director as well as the Department Chair of the Undergraduate Theatre Department at Hollins University. She's currently completing her PhD in Interdisciplinary Arts/Playwriting at Ohio University with a focus on intersectional feminist theatre and 20th/21st century women playwrights. Over the past twenty years, Wendy-Marie has taught, directed, and performed in Europe and the U.S. Her work has been produced in Germany, The Netherlands, Australia, Japan, Ireland, and the U.S and published by Smith & Krauss, Theatrefolk, and YouthPLAYS. Wendy-Marie is Co-Producer of the Trans [Plays] of Remembrance Festival and a proud member of the Dramatists Guild, the Association for Theatre in Higher Education (ATHE), the American Society for Theater Research (ASTR), and the National Women's Studies Association.
Website: https://www.wendymariemartin.com/
Facebook: https://www.facebook.com/wendymarieplaywright
Twitter: @WendyMarieCA
If I could bring one change to theatre, it would be the dismantling of patriarchal, white supremacists paradigms in theater education and playwriting. I just took over as chair of the undergraduate theatre department at Hollins University and set a clear mission to create a foundation of anti-racist, anti-oppressive practices in order to build the program around these values at every level of the programs. Our budget is now reflecting these values and being used to bring in guest artists/instructors who are diverse in gender, racial/ethnic identities, ability, and age. It is my plan to experiment with feminist leadership structures in collaboration with my students and faculty and publish on our successes and our failures in order to participate in the national conversation taking place around theatre structures and processes. I believe if enough theater and academic theatre leaders are focusing on this work, together, we will move the needle forward and make sustainable change.
WHAT I'M CURRENTLY WORKING ON:
I'm currently working on my PhD dissertation which focuses on the collaborative craft of Suzan-Lori Parks, Paula Vogel, Young Jean Lee and Jackie Sibblies Drury. Since I'm an artist/scholar, my dissertation also includes a full length play titled "To Be a Starfish," which is my response play to Maria Irene Fornes's play "Mud" (1983).
Political, Equality, Immersive/site-specific, satire, science fiction, musicals, TYA

redpajama_set_name: RedPajamaCommonCrawl


#VIDEO: #Russia president #Putin arriving in #Tehran to attend trilateral summit w #Iran & #Azerbaijan presidents.
#Iran's foreign minister @JZarif & #Azerbaijan foreign minister Elmar Mammadyarov today met in Tehran.
#Iran, #Azerbaijan sign military cooperation protocol/ The protocol was signed in Baku between visiting Iranian Chief of Staff of the Armed Forces Major-General Mohammad Baqeri and Azeri Defense Minister Zakir Hasanov.
#Iran FM @JZarif will tomorrow depart for #Azerbaijan & #Kazakhstan. Zarif will attend quadrilateral summit of Iran, Azerbaijan, #Turkey & #Georgia in #Baku. Later, he will depart for #Astana to take part in trilateral summit of Iran, Turkey & #Russia over #Syria: Iran MFA spox.
#Russia president Putin has arrived in #Tehran to attend trilateral summit w #Iran & #Azerbaijan presidents.


Trim any fat from the chicken and trim the skin. Coat the chicken with a little flour seasoned with salt and pepper.
Fry in the oil until lightly golden, then drain on kitchen paper and place in a casserole dish. Heat 2 tablespoons of oil in a frying pan and sauté the onions for about 10 minutes or until softened but not coloured.
Stir in the curry powder and the puree and cook for a further 2 to 3 minutes. Stir in 2 tablespoons of flour, then stir in 300ml (10 fl oz) of the stock.
Add the sliced apple, carrot, lemon slices, sultanas, bay leaf, brown sugar and the remaining stock. Season with salt and pepper.
Pour the sauce over the chicken in the casserole, cover and cook in the oven for 1 hour.
Remove the lemon slices and bay leaf, take the chicken off the bone and cut into pieces before serving.
Big on flavour & packed full of fruits & veggies, this curry is a family favourite & tastes great served with fresh & crispy poppadoms.


Hard Candy Fitness is a global, high-end fitness brand with a distinctive difference. The brand was created in 2010 by Madonna, the world's leading female pop icon and well-known fitness enthusiast, and New Evolution Ventures, the world's leading expert in fitness club development and operations. The brand has grown to include club locations in destination cities around the world focused on innovative group fitness programming and personalized fitness training. Members enjoy an experience where entertainment and fitness intersect leaving them feeling strong and inspired physically and mentally.


It's strange to hear some of these stories or facts about celebrities because for some reason we feel like we know them. From watching all their movies or shows or even listening to their music we feel a connection to these people we've never met. That's why it's so surprising when we hear these relatively unknown facts about these people we look up to because it's almost like they lied to us! Whether it's their real name or a criminal past no matter what it is, I can't help but feel misled, but I think the most interesting facts are the professions before they landed their first acting gig. Remember not everyone has their destiny mapped out, but these 50 secrets about celebrities will guarantee you never look at your favorite celebrities the same way!
1. Guy Fierei's real name is Guy Ferry, and I don't know how to feel.
2. Bryan Cranston was a suspect in a murder investigation.
3. Denzel Washington has dislocated his pinky so many times that it occasionally falls out of place when he moves his hand.


text:
The Feehery Theory
John Feehery: Speaking Engagements
Donald Trump's Media Strategy–and Upending the White House Press Corps
By Gage Skidmore - https://commons.wikimedia.org/wiki/File:Donald_Trump_by_Gage_Skidmore_5.jpg, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=48635435
Former White House press secretary Ari Fleisher suggested this week that Donald Trump would confront a hostile press corps when he comes to Washington. "Outsider Donald Trump was elected president in significant part because of his promise to shake up Washington. He'll soon find that one of the most entrenched forces that object to any change affecting them is the White House press corps. As last week's meetings with the media showed, a clash is coming."
That clash is likely to be monumental.
The president has a constitutional duty to allow the media to operate free of government censorship or control. But that doesn't mean that he shouldn't communicate directly with voters or otherwise play by his own rules.
Nothing in the Constitution says the president has to meet with the press. No law requires the president to hold press conferences, appear in the White House briefing room, or sit down for interviews.
The First Amendment protects free speech and freedom of the media. But that doesn't mean that the next White House press secretary will follow Josh Earnest's example and submit to a daily pounding from the White House press corps.
I saw how press routines could be changed, and how they recovered, when I worked in the House of Representatives.
For years it was tradition, on days the House was in session, for journalists to sit down, with pads and pens, and interview the speaker of the House. Over time Democratic House speakers had grown comfortable with this–and with a largely compliant media.
After Newt Gingrich came to power, his press team decided to invite not only reporters with pens and pads but also to invite in cameras.
Soon Mr. Gingrich was facing "gotcha" questions on camera and making mistakes answering them. His staff shifted course.
When my then-boss Denny Hastert became House speaker, I sought to revive the pen-and-pad tradition. But Mr. Hastert was not all that excited to answer media questions every day, so we did it periodically. Sometimes we went long stretches without opening the chamber to a small media gaggle.
We hadn't set out with a plan to adapt a House tradition to a structure that we found more manageable. But it worked out that way.
In his Journal column this week, Ari Fleischer noted that the White House press secretary used to decide who was assigned seats in the briefing room but that this authority shifted to the White House Correspondents Association during the Bush presidency. "Nothing prohibits the incoming administration from taking [that authority] back," he wrote.
If it's smart, the Trump Team will start experimenting with what works and doesn't work for their leader.
Maybe it makes sense to have Jason Miller or Laura Ingraham face the White House press corps every day. Maybe it doesn't.
Maybe Mr. Trump should continue to tweet. They get covered extensively. His tweets are unfiltered and authentic. He shows people what is going through his head. There is real value to that.
Maybe the president should consider giving the media greater access to the rest of the White House (except for restricted areas such as the Situation Room or the residence). Journalists are cooped up in the press area and don't have the sort of access Hill reporters enjoy.
Maybe Mr. Trump should host a call-in radio show every day so he can communicate directly with voters and, more important, they can communicate to him.
It made headlines recently when Mr. Trump went out to dinner in Manhattan after telling the "press pool" that follows the president-elect that there was a "lid" and not taking any reporters along. Well, just because things were done one way at one time doesn't mean they'll continue to be done that way for all time. Things change in schools, science, business, markets–and the media.
Mr. Trump might incur some bad press by changing some traditions. Then again, nobody got more bad press than he did during the campaign–and he still won.
Published in the WSJ.
©2021 The Feehery Theory


So much content so that's just get to it!
This week's List is a long walk through my favorite band's discography. It's definitive. Don't question my opinions on R.E.M. I assure you, they are all correct.
Last week's The Tuesday List ranked Michael Mann's filmography by objective and subjective measures to guide you through his oeuvre.
Finally, I tell you why Colin Farrell and Vince Vaughn are great choices for True Detective Season 2 and let you know the films you should check out to prove it.
Silk has a brand new series coming 2015! The other person bit by that fateful spider steps into the spotlight and I've got the scoop for you. No need to thank me. I do it for the people.
The Avenging Archer's current series is one of the most well-respected and enjoyed on the shelves. Jeff Lemire wrote another archer for another company and is considered a writer at the top of his craft. What happens when those two great flavors meet? Find out in my interview with Lemire about his new Hawkeye ongoing.
I would not want to live in the 50's, but it sure is fun to visit when talents like Kathryn Immonen and Rich Ellis are involved. Operation S.I.N. sees that duo tackle a story from the secret history of Marvel. Dig it you hep cats! That's 50's slang, right?
Captain Citrus is the hottest, coolest fruit mascot on Earth. Don't believe me? Read my article and you'll see.
I know the 90's. Well. And while the rest of Marvel.com failed to recognize my expertise and thus did not give any love to Darkhawk or Sleepwalker, I still had 3 entries of worthy top 10ers in the latest 75th Anniversary Countdown: Top 10 90's Debuts.


Entertaining guests this weekend? Try one of Donatella's favorite easy-to-make appetizers, Gorgonzola Dolce, Bacon And Onion Crostini.
Cook the bacon over medium heat just until most of the fat is rendered. Do not overcook.
Remove to a plate with a slotted spoon. Add the onion to the fat in the pan and cook for 10 to 15 minutes, until it begins to caramelize.
Add the vinegar and cook, scraping up the bits on the bottom of the pan with a wooden spoon, until the vinegar evaporates.
Arrange the Crostini on a platter.


Trident's Fun Audit, How Fun Are You?
Our friends over at Trident wanted to share their newest campaign to see how fun you're really living. They have a really cool Facebook activity, just search "Trident" on Facebook and when you are on their page, you'll see the link for the fun audit. Made me laugh.
Jamaica: Escaping the Winter Blues!


text:
Fabien shares his experience as a web developer at Sport Heroes
Hello Fabien, can you introduce yourself in a few words?
Hello! I'm a former Wilder from 2019 based in Reims. I was no longer fulfilled in my previous job and Wild Code School gave me the opportunity to do a job I love. As a sports enthusiast, I am now lucky enough to be able to work in a company that works in this field. And being able to run with your colleagues is great! :)
What was your background before attending the Wild Code School in Reims? Why did you choose to join this training programme?
Before starting this training, I worked for 5 years as a graphic designer. I had spent 3 years studying in Namur to acquire the necessary skills. But it turns out that the market is really crowded, and the company I was in really didn't have the same vision of graphic design as me and I felt restricted.
Besides that, I was doing some projects for myself or for NGOs, doing both graphic design or sometimes the webdesign/development. I was lucky to have some basics during my training as a graphic designer, and thanks to some tutorials on the internet I managed to get by. But I didn't feel legitimate on the job market.
That's where Wild Code School came in. On the one hand, my knowledge wasn't up to date, it worked, but other languages had since appeared. But I also had no idea about the development tools that were being used in companies. Especially Git, which may have been complicated for some at the beginning, but which is now essential to work as a web developer in companies.
The fact that training is largely based on practice was very important to me, I think that this is how one learns best. Between that and the big projects, I found that we were in conditions very close to when working in a company. If you add all the more organisational aspects such as daily meetings and the SCRUM methodology in general, you're very close to how it works in a startup. Therefore, I did not feel out of place when I did my internship.
After your studies, you became a developer at Sport Heroes, can you explain what the company does?
Sport Heroes offers a SaaS product whose overall aim is to motivate people to do sports (and make them happy!). This product can be used in several contexts :
In B2C as a private label (historically our first communities: Running Heroes, Cycling Heroes and Swimming Heroes)
In B2B (United Heroes, a corporate wellness solution that engages employees around the employer brand)
As a white label (for strong brands wanting to build on their image by creating and animating a community of sportsmen and women, such is the case of IRONMAN Virtual Club or the Club Paris 2024 for the olympics).
To do this, we work with different providers (connected watches, tracking applications). Thanks to this, we will be able (with the user's agreement of course) to know when they did an activity and to have this information in the app. Each activity is processed on the backend side and interacts with different micro-services to update different screens. Thus, an activity can update both a challenge, such as a ranking or a user's profile.
This is the heart of the system. And thanks to these mechanics, we can create different websites or apps. One can activate this or that functionality and renew the experience according to the needs of the client or user. For example, some platforms will need a ranking screen. For others, you may want a rewards screen, or activate a user step tracking feature.
The code is available for each app, but you can quickly activate or deactivate a feature.
What are your challenges? What are your objectives for the future?
Promoting sport and well-being in companies is one of the key issues. We will also seek to develop our communities to reach out to as many people as possible, and thus support users in their sports practice by motivating, challenging and sometimes rewarding them. :)
What is your role in particular?
For my part, I joined the "app" team. I therefore work mainly in react-native. A large part of my work consists of translating a need into code, whether it is visual or more functional. But it's not all code that needs to be written. Being in a team, you have to think about communication, comment and document your code so that it is accessible to other people. You also have to monitor error reports so that you can quickly correct errors.
I also like to bring a graphic design perspective from my previous work experience.
The specificity, but also the complexity of the app part, is also everything that is native. Indeed, our apps are available on Android and iOS. And to be able to distribute them, you have to work on the files specific to these systems.
Can you describe your work environment? How is your team composed?
In Paris, the working environment was very pleasant. We were in an openspace, grouped by BU (business unit). There were several meeting rooms, a relaxation area with a ping-pong table, sofas, coffee machines...
There are about 70 people in the company, but the Tech/Product team, in which I am, has about 20 members. It is divided into several departments. The backend to receive/process data and dispatch it to each micro-service, the front-web and front-app which will display this information, the Product part which will think about new functionalities, create user stories and communicate improvements to other members of the company, and finally the Support part which will manage user feedback, create bug tickets etc.
As it is still a lot of people, we are grouped in 2 squads and each squad is working on its topics in parallel. In each one, we'll find a project manager who will drive the whole thing, at least one back-end developer to take care of the core, and then app or web developers who will work together on the body ;)
What languages do you code with?
I code mainly in react-native, for some needs it will be done in Typescript. We also have tests to write, this is done with Jest.
Sometimes, it is necessary to have a look at the database, so knowledge in MongoDB is necessary.
It is also necessary to know how to read Swift (iOS) or Java (Android).
From what you learned at the Wild Code School, what was the most useful?
Of course the technical aspect of React was very important. But from a professional point of view, I would say that it's really this aspect of business conditions that was the most useful for me. Knowledge is acquired over time, and you have to constantly renew yourself, but I think it's important to be at ease in a company with all the interactions that it implies.
How do you see your career evolve?
It's still very early for me to think about evolution. For the moment, I am still acquiring as much experience as possible. SportHeroes allows you to grow internally, to see what you can do when the time comes and according to your desires. There have already been examples of developers evolving towards a more senior role or as a project manager.
Thank you for all your answers, do you have a last word for the Wilders?
Stay Wild ;) The road is sometimes complicated, but in the end it's really an exciting job that allows you to work in different fields. It's really stimulating and rewarding!
To find out more about Fabien's Web Developer training, click here!


Happy Canada Day! This long weekend always rekindles childhood memories of visiting my Granny's house and enjoying a massive Polish meal, complete with all the fixins. Frequenting the Hastings Snack Bar brings me right back… Family run, Polish comforts with a throwback decor that feels just like home. This Mom-and-Pop-and-Daughter in the heart of Leslieville is not to be missed. I've even brought a couple of my Roncesvalles friends to this breakfast & lunch counter, and they've totally fallen for the place.
In terms of the food at Hastings Snack Bar, I find it quite difficult to not start things off with a bowl of their zupa du jour ($6). Hearty Chicken Noodle is often in rotation, as is Sour Pickle. Their show-stopper (imo), however, is the Zurek. This white borscht is full of sausage, hard-boiled egg and fresh dill. Their last batch was so fantastic, I couldn't help but order another bowl. Pair it with a sausage-on-a-bun or a kielbasa melt, and you've got yourself quite the lunch combo.
Hastings Snack Bar is probably best know for their Pierogi. There are four savory and two sweet renditions on the menu at all times. My go-to are the mushroom and sauerkraut; my daughter loves the blueberry with whipped cream. Get them in servings of 4, 8 or 12; you won't be disappointed. Dare I say it? These are as good as Granny used to make.
Their Cabbage Roll platter is possibly the best deal on the menu @ 2 for $10. This is a delicious and filling plate of food, with sweet tomato sauce lathering extremely dense pockets of goodness. If you can't decide between the Pierogi or Cabbage Rolls, they offer-up the whole kitchen sink (aka Tata's Lunch Platter). For $15 you get your choice of pierogi, a cabbage roll, a sausage link and sauerkraut + pickles. Be sure to look for daily specials on the chalk board, as they will often do an outrageous pot of Bigos (pork & sauerkraut stew) that's worth the price of admission.
Weekends are an especially busy time at Hastings Snack Bar, satisfying the locals with kielbasa & eggs, potato pancakes, paczaki, and legit coffee-based drinks. It's safe to say that I am happy to eat anything from their menu at any time of the day. It's so nice to have these Eastern-European comforts on the eastside of town. This place is so close to home, both literally and figuratively, that I just can't get enough. John Tavares is going to love eating here:) Happy Canada Day, y'all!


Motín is a coffee shop located in Colonia Roma, one of the most trendy neighborhoods in the culinary scene of Mexico City. It is the alternative project of "Quesería de Mí" a coffee shop located in Colonia Condesa. Futura was in charge of the design in an integral way: naming, branding and interior design, which was executed by Solvar.
Sometimes the only thing we need to have a good day, or to make up for a bad one, is to eat a big bowl of comfort food. What better to do it in a cozy space in company of a pink glutton hamster that, like many of us, has the eye bigger than the stomach.
Welcome to a place that invites you to enjoy a cup of coffee while you do some work on a Monday morning, or to share a plate of fluffy pancakes at the weekend brunch. Motín makes you feel at home, but better.
Motín, coffee by day, wine by noon.


text:
Lampard: Chelsea's Best Signing Is Conte's Renewal
June 25, 2017 HitMan Sport News 0
Chelsea legend, Frank Lampard says a renewal signed by Antonio Conte, will be the blues best signing.
Chelsea have been linked with Romelu Lukaku, Bakayoko and Juventus wingback Alex Sandro.
However, Chelsea are pushing to get Conte sign a renewal beyond 2019, after winning the EPL title.
"Antonio would be their most important signing – for me he was their man of the season," Lampard said in quotes reported by The Sun.
"He took the club from 11th to comfortable champions and that can't be underestimated.
"I think he's a huge signing for them. You talk about player of the year, I'm all for giving the players credit but because it was such a dramatic uplift from the year before I think you have to give him huge credit.
"You saw the system change and how he made them play in that formation, it worked well.
"I think he's a huge signing for them. I have no doubts, I don't know, but I'm pretty confident he'll be there and they'll bring in players to play in the system he wants to play."
Manchester United Announce Darmian Signing
Chelsea's Season So Far.
Turkish Club Seriously Interested In Signing Lionel Messi
Highlights From Chelsea's Penalty Shootout Victory Over PSG
Sevilla Confirm Potential Signing Of Fernando Llorente, Subject To Medicals
After Signing Eto'o & Ronaldinho, Turkish Club Antalyaspor Eye Valdes
Antonio Conte Hails Mikel's Time At Chelsea
Del Piero: There Is Room For Ronaldo At Juventus
Pogba: I Could Endure Griezmann At City


A very spooky 4 foot hanging grey, black and white ghost prop with a wide open scary mouth that's looks like it's screaming. Ghosts head is about 1/3 scale of life-size.
This ghost was once a living person but died of a sudden fright. Now it wanders the earth, haunting anyone who gets too close to it.
Without a sound or movement, they say this ghost appears without warning to frighten unsuspecting victims.
It's cloaked in black with grey rags and cloth, and has a 3 foot arm span. The arms can be bent and posed.
A very spooky 4 foot hanging grey, black and white ghost prop with a wide open scary mouth that's looks like it's screaming. Ghosts head is about 1/3 scale of life-size. This ghost was once a living person but died of a sudden fright. Now it wanders the earth, haunting anyone who gets too close to it. Without a sound or movement, they say this ghost appears without warning to frighten unsuspecting victims. It's cloaked in black with gray rags and cloth, and has a 3 foot arm span. The arms can be bent and posed. It's a great finishing touch to any Halloween theme party, haunted house, graveyard or entryway!


Leebruss Zoom - tote the tots in a titillating twin tandem!
Leebruss Zoom – tote the tots in a titillating twin tandem!
population this will be an interesting option in the pipe-dream category.
manouevrability, even with a full load.
released into the wilds of the UK market so perhaps you can bring one back on your next European jaunt.


Add the tequila, lime juice, simple syrup, and triple sec or orange liquor with ice into a shaker. Shake for about 20 to 25 sec. Pour into a glass with fresh ice and a salted rim then garnish with a lime wedge or slice.
For frozen use double the amount and add ingredients to a blender with a cup of ice. Blend on medium to ensure that ice is blended. Pour into a glass with a salted rim and garnish with a lime wedge or slice.


Recycled aluminum cans are seen at the Norcal Waste recycling facility July 11, 2003 in San Francisco.
A can collector whose graffiti-covered, recyclables-filled car is an unwelcome fixture in her Brooklyn neighborhood reportedly owns more than $8 million in New York City real estate.
Lisa Fiekowski spends much of her free time collecting cans, which she packs into her 1993 Toyota Camry, the New York Post reported. But her can-collecting is just a hobby she uses to get exercise, not a hustle she needs to make money, she told the outlet.
The self-described "old-fashioned bohemian" owns a $1 million co-op near Prospect Park, as well as at least three properties in Harlem, according to the outlet. Her husband, meanwhile, earns around $180,000 a year in a job with the city.
Fiekowski, who has an MBA from Chicago University and has worked as a marketing analyst and a stockbroker, bought a one-bedroom apartment for $22,000 when she moved to New York in 1979, she said. She told the Post she started investing in real estate in the mid-80s.
Neighbors and family members don't appreciate her hobby or her can-filled car, which they consider to be an eyesore, she said.
Reactions to her hobby and her vehicle reflect the ways in which New York has changed over the years, she maintained.


text:
package demo.hw.server;

import org.apache.hello_world_xml_http.bare.Greeter;
import org.apache.hello_world_xml_http.bare.types.MyComplexStructType;

@javax.jws.WebService(serviceName = "XMLService",
                portName = "XMLPort",
                endpointInterface = "org.apache.hello_world_xml_http.bare.Greeter",
                targetNamespace = "http://apache.org/hello_world_xml_http/bare")

@javax.xml.ws.BindingType(value = "http://cxf.apache.org/bindings/xformat")

public class GreeterImpl implements Greeter {

    public String greetMe(String me) {
        // TODO Auto-generated method stub
        System.out.println("received calling greetMe!");
        return "Hello " + me;
    }

    public String sayHi() {
        // TODO Auto-generated method stub
        System.out.println("received calling sayHi!");
        return "Bonjour";
    }

    public MyComplexStructType sendReceiveData(MyComplexStructType in) {
        // TODO Auto-generated method stub
        System.out.println("received calling sendReceiveData!");
        return in;
    }

    public String testMultiParamPart(MyComplexStructType in2, String in1) {
        // TODO Auto-generated method stub
        in2.setElem1(in1);
        return "Bonjour";
    }
}

redpajama_set_name: RedPajamaGithub


text:
Finding Happiness After Loss Through Song & Story
BOBBY JO VALENTINE
How do you find happiness after losing what's dearest to you? A call and question from Bobby's grandmother..."Are you happy?"...came right before losing her, then his dearest relationship, then his entire house in a fire. In this intimate session, singer/songwriter Bobby Jo Valentine shares songs and stories about finding happiness after losing things we love.
Duration:
Good to Know:
Bobby Jo Valentine is a multi-faceted and sought-after speaker, songwriter and storyteller who grew up on the windy seaside of Northern California. He's been called a hopeful, realist poet and a philosopher for the people. His songs are both earthbound and mystical, and speak to the gentle, everyday awakenings of an openhearted life.
Bobby has given a TED Talk, has been awarded Song of the Year three times from West Coast Songwriter's Association, is an out gay advocate for equal rights for all, and has performed thousands of events around the globe. His compelling, poetic storytelling and songs have built a growing following of listeners and supporters, and his most recent collections, Fox Eyes, Whale Heart and Maybe Stars, are available everywhere music is offered online.


Original Kurzfassung: Object-oriented programming supports the reuse of software because classes can be extended and modified without direct changes to the original class. Additionally, objects act as independent and inter- active components. If we build software systems by combining predefined objects we have to consider composition and interoperation mechanisms used by their classes. We suggest a classification of composition and interoperation mechanisms. We distingiush levels of composition of components with data, user, and program interfaces. Interoperation is distinguished according to control and data interaction. This results in composition levels and a matrix of interoperation mechanisms that are presented as posters and (hopefully) serve as a basis for frutiful discussion on that subject.
Englische Kurzfassung: Object-oriented programming supports the reuse of software because classes can be extended and modified without direct changes to the original class. Additionally, objects act as independent and inter- active components. If we build software systems by combining predefined objects we have to consider composition and interoperation mechanisms used by their classes. We suggest a classification of composition and interoperation mechanisms. We distingiush levels of composition of components with data, user, and program interfaces. Interoperation is distinguished according to control and data interaction. This results in composition levels and a matrix of interoperation mechanisms that are presented as posters and (hopefully) serve as a basis for frutiful discussion on that subject.


Inflammation usually manifests as pain, heat, redness, swelling, and loss of function. Inflammation is the precursor to most degenerative diseases. In fact, every condition that ends with the suffix "itis" is a condition of inflammation. Inflammation can appear in any part of the body — every organ, every tissue, and all the various systems of the body: the nervous system, circulatory system, lymph system, etc.
Virtually all degenerative diseases have precursors. The 7 primary causes of all diseases are: 1) Chemical and pH Imbalances, 2) Congestion, 3) Toxicity, 4) Parasites/Infections, 5) Nutritional Deficiencies, 6) Energetic Disturbances, and 7) Mental and Emotional Stress. All of these lead to inflammation. Inflamed areas can develop into full-blown disease.
It's important to address the originating cause of inflammation, but you can reduce virtually all inflammation with this amazing anti-inflammatory formula.
This is a very powerful formula made from simple kitchen spices. This works extremely well, generally considered to be better than any prescription drug. If you have any questions, check with your doctor, who may be aware of this formula or similar formulas.
Ahead of time, make this paste.
Put in a saucepan and heat, but do not boil. Let it simmer as you stir until it becomes a thick paste. You can keep this paste in the refrigerator for at least a week or two. Now that you have a jar of this paste in the fridge, whenever you want to take a dose of the anti-inflammation formula, you get 1/2 teaspoon of the paste from the jar out of the fridge.
Heat some water, half a cup of water is enough, (up to a cup) — how much water is not critical.
Stir in the 1/2 teaspoon of paste that you got from the fridge into the 1/2 to 1 cup of warm water.
Now add these additional ingredients to the warm water: 1/4 teaspoon ginger powder, 1/4 teaspoon cinnamon powder. Optional - you can also add 1/4 teaspoon valerian root powder.
Add a little bit of olive oil, or coconut oil, maybe 1/2 teaspoon, to slow down digestion (so it doesn't go through your system too fast).
You can add a little bit of natural sugar (Demerara, Sucanat, jaggery or any whole natural sugar) to make it taste better.
Stir well and drink. It takes less than a minute to make the drink.
You can drink a cup of this formula once or twice a day. It will have amazing effects within a day or so. As you are feeling better, explore the seven precursors of all disease listed above. There's a lot more information in my book "Extraordinary Healthcare" about natural ways to approach improving your health.


text:
Pandemic or Not, These Stay-at-Home Stocks Are Just Getting Started
By Mallika Mitra
https://money.com/stocks-coronavirus-vaccine/
Money; Getty Images
Cases of COVID-19 are surging around the country. But this month, we saw a light at the end of the tunnel: drug makers Pfizer/BioNTech and Moderna announced that test results found their coronavirus vaccines to be 95% and 94.5% effective.
When Pfizer and BioNTech first announced their positive vaccine results earlier this month, stocks of companies that have been beaten down by stay-at-home orders (think, airlines and movie theaters) jumped. Shares of movie theater company AMC Entertainment, for example, surged 44% the morning of the news, while the cruise company Royal Caribbean Group rose 31%. Meanwhile, shares of companies that have benefitted from people leaving the house less, like Zoom and Peloton, fell sharply.
It looks like we still have months, at least, until a vaccine is widely distributed. But the market reaction to even some good news begs the question: is the great run of stay-at-home stocks over once life returns to "normal?"
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How the pandemic has changed our behavior
Experts say that in some ways, the pandemic may have permanently changed our behaviors, so while while some stay-at-home stocks may suffer when restrictions are lifted, it won't be universal. We're ordering groceries from the comfort of our own kitchens, watching movies on our televisions and, for some, cutting out commutes entirely. People aren't likely to give all that up even when they're able to.
As Sam Stovall, chief investment strategist at CFRA Research, based in New York City puts it simply: "People are inherently lazy." And companies like Amazon, which has continued to see profits soar during the pandemic, will likely continue to benefit from this tenet of consumer behavior.
So don't throw all your stay-at-home stocks out the window just because of market movements like we saw on Pfizer's positive vaccine news. In general, it's never wise for long-term investors to make knee-jerk investing decisions. Instead, you should focus on long-term potential, like earnings growth, Stovall says. (Of course, this can change if you're in or nearing retirement, as you may be more focused on income than growth). If a stock is in your portfolio, it should be because it has good fundamentals.
"You don't want to own stocks just because they're hot stocks and the experts are talking about why you have to have them in your portfolio," Stovall adds.
The long-term winners
It's impossible to know exactly which companies will continue to thrive post-pandemic, and which will falter. But experts say there are some companies with stay-at-home products that are just hitting their stride.
Peloton, for example, may just be getting started. In a letter to clients earlier this month, Goldman Sachs analysts wrote that the at-home exercise company represents a "significant long-term opportunity," as it's in early stages of creating new and expanding existing categories of connected fitness products. The analysts added that the opportunity has been permanently accelerated by the pandemic, and that the window for meaningful competition is rapidly closing. Peloton said in its most recent earnings announcement that it ended the quarter with more than 1.33 million subscribers, up 137% from a year earlier.
Zoom could be another post-pandemic winner. Even once the pandemic has passed, most companies still expect to see a fundamental change in their operations compared to pre-pandemic times, J.P. Morgan analysts wrote in a note to clients in early November. These changes include flexible work arrangements, less business travel and more teams that would rely heavily on remote collaboration. "We still look at the pandemic as a massive pull-forward in adoption that will benefit Zoom for many years to come," the analysts wrote.
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Sector-wise, telehealth is one area that has a ton of room to run, says Daniel Milan, managing partner at Cornerstone Financial Services in Southfield, Mich. Before COVID-19, only 13% of patients in the U.S. had had a digital appointment with their doctors, according to consumer research firm Piplsay. But as people were asked to remain at home, those appointments skyrocketed: in the last week of March alone, there was a 154% increase in telehealth visits compared with the same time period in 2019, the Centers for Disease and Control and Prevention found. While there are certainly times that call for an in-person appointment, experts say that, because of the convenience, people may not be quick to revert back.
"I don't think that they've even begun to tap their full market potential," Milan says of telehealth companies like Teladoc Health. "That adoption rate is, I think, going to continue to snowball."
And the big winner: 5G companies, like Qualcomm and Verizon. These companies have been benefiting from so many people working from home, but even if workers go back out into the world, the 5G transition is here, Milan says. The term refers to the expansion of usable cellular frequencies to deliver increased bandwidth, faster data movement and the the ability to support more mobile devices, and it is likely to have a similar effect to what we saw in the late 90s in terms of innovation, he adds.
"I don't mean the flashiness of the dot-com boom and bust, but specifically how the foundations were laid for a new way of technological life," Milan says.
As COVID-19 Vaccine News Boosts the Stock Market, Here Are the Biggest Winners (and Losers)
Joe Biden Is the President-Elect. Here's What It Means for Your Wallet


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While the language should allow for great performance, the current compiler is still a bit rough, and I've had a hard time getting Swift to come out ahead in any performance tests. Most of the slowness looks to come down to a lot of redundant retain/release activity being emitted by the compiler. I expect this to be fixed before too long, but in the meantime, it means that this article is going to be more about how Swift could potentially be faster than Objective-C than about how it's actually faster right now.
As we all know by now, every time we write an Objective-C method call, it gets translated into a call to objc_msgSend which then handles the work of looking up the target method at runtime and invoking it. objc_msgSend is responsible for taking the selector you're sending and the object you're sending it to, and looking that up in the class method tables to figure out exactly which piece of code is supposed to handle it. It's extremely fast for what it does, but it does a lot more than is usually necessary.
Message sending is nifty because it makes no assumption about the runtime type of the target object. It could be an instance of the expression's static type; if you're sending a message to a variable declared NSView *, the object could very well be a straight NSView instance. It could also be a subclass. It could even be an instance of a completely unrelated class. You can lie to the compiler about an object's type and everything still works fine.
However, in 99.999% of Objective-C code, you don't lie to the compiler. When an object is declared NSView *, it really is either an NSView or a subclass. We need some dynamic dispatch, but the vast majority of code doesn't need the full message send dispatch. However, the nature of Objective-C is such that every call has to pay the full cost.
In the equivalent Objective-C code, both method calls would be compiled to objc_msgSend calls and that would be the end of the story.
In Swift, the compiler is able to take advantage of the tighter guarantees provided by the language. In Objective-C, we can lie to the compiler, and the object may not be anything like the type we say it is. In Swift, we can't lie to the compiler. If we say that obj is an instance of Class, then it's either an instance of that class or of a subclass.
The call to testmethod2 is even nicer. Because it's declared @final, the compiler knows that nothing can override it. No matter what happens, the call will always go to the implementation in Class. Thus the compiler doesn't even need to emit a vtable lookup. It can just make a normal function call that goes straight to __TFC9speedtest5Class11testmethod2fS0_FT_T_, which is the mangled name of the testmethod2 implementation in my test case.
This isn't a huge win. objc_msgSend really is remarkably fast, and most programs don't spend that much time in it. In addition, Swift will still use objc_msgSend to send messages to Objective-C objects. Still, it should be good for a few percentage points.
The compiler is smart enough to see that the call to this method now does nothing. With optimizations turned on, it doesn't even emit the call. It calls testmethod1 and then it's done.
Since the compiler can see the creation of obj, it knows that it's an instance of Class and not a subclass. This allows it to completely eliminate the dynamic dispatch even for testmethod1, making a direct function call to the implementation.
In Objective-C, this code will send a million messages and take a noticeable amount of time to run. In Swift, if the compiler can see that testmethod2 does nothing, it could potentially eliminate the entire loop, meaning that this code runs in zero time.
This will send three million messages and allocate and destroy one million objects. The equivalent Swift code could, with a smart compiler, compile to nothing at all if it's able to determine that the self method doesn't do anything useful and doesn't cause anything to refer to the object beyond its local lifetime.
Every Objective-C method takes two implicit parameters: self and _cmd, with the explicit parameters passed after those two. On most architectures (including x86-64, ARM, and ARM64), the first few parameters to a function are passed in registers, with the rest passed on the stack. Registers are much faster than stack, so passing parameters in registers can be a big performance win.
The implicit _cmd parameter is rarely needed. It's really only useful when taking advantage of fully dynamic message sending, which 99.999% of Objective-C code doesn't do. Yet it occupies a scarce parameter register in all calls, leaving one fewer for real parameters. There aren't many available: ARM only uses four registers for passing parameters, x86-64 uses six, and ARM64 uses eight.
These are all reasons why Swift can be faster than Objective-C, but how about plain C? Aliasing is something that could allow Swift to surpass C.
This is a tricky situation, because writing to ptrA will affect reads from ptrB, and vice versa. This can hurt the compiler's ability to optimize.
With memcpy, this wouldn't be legal. It's not allowed to pass overlapping pointers like this. However, this is mikememcpy, which accepts overlapping pointers, but it behaves strangely.
In the first iteration of the copy loop, srcBytes[i] refers to the 'h' and dstBytes[i] refers to the 'e'. After copying this byte, the full string then contains "hhllo, world". In the second iteration, srcBytes[i] refers to the second 'h', and dstBytes[i] refers to the first 'l'. The full string after this iteration is "hhhlo, world". It continues like this, with the 'h' being copied forward byte by byte, until the full string is simply "hhhhhhhhhhhh". Not really what we wanted.
This sort of thing is why memcpy doesn't allow overlapping pointers. The memmove function is smart enough to handle overlapping copies like this, at the cost of some performance. By ignoring potential overlap, memcpy can go faster.
However, the compiler doesn't understand all of this context. It doesn't know that mikememcpy is supposed to assume that the arguments don't overlap. We'd be happy with any optimization that changed the semantics of the case where the arguments overlap, as long as it kept the non-overlapping case intact. For all the compiler knows, we want "hhhhhhhhhhhh". We need it. The code we wrote demands it. Any optimization has to keep these semantics intact, even though we don't care. This makes it tough to make this function more efficient by copying larger chunks of memory.
clang actually does an impressive job with this function. It generates code which checks for overlap and performs optimized copies when the two pointers don't overlap. The performance penalty from the compiler's lack of context ends up being small, but not zero. Those extra checks aren't entirely free.
This is a pervasive problem in C, because the language allows any two pointers of the same type (and sometimes of different types!) to alias. Most code is written with the assumption that pointers don't alias, but the compiler generally has to assume that they might. This makes C much harder to optimize, and can make C programs slower than they need to be.
Problem solved, right? Well, how often have you actually added the restrict keyword to your code? I'm going to guess "never" for most of you. In my case, the first time I ever actually used restrict was when I wrote the modified mikememcpy above. It gets used for extremely performance sensivite code, but otherwise we just take the minor hit and move on.
Putting the memset first eliminates the redundant load of _count. It's a small win, but it's there.
This generates better code. But how often do you really do that? For me, this is now the second time I have ever used this keyword.
Swift code encounters these situations much less frequently. In general, you don't take references to arbitrary instance variables, and array semantics make it impossible for them to overlap. This should allow the Swift compiler to generate better code in general, with fewer redundant loads and stores to handle the case where you might alias something.
Swift has a couple of tricks that can potentially make for faster programs than Objective-C. Less dynamic dispatch allows for faster method calls. It also allows for better optimization of the code that makes those calls, such as inlining or removing calls altogether. The way method dispatch works also frees up an extra argument register, making it faster to pass parameters into methods that take a large number of parameters. Finally, the rarity of pointers in Swift means that aliasing is much less of a problem, allowing the compiler to perform better optimizations and fewer redundant loads and stores. It remains to be seen exactly how much of a difference all of this will make in practice, but it looks promising for modest speed gains.
That's all for today. Come back next time for more Swifty goodness. In the meantime, if there's a topic you'd like to see covered (Swift or not), please send it in!
Regarding the method you wrote mikememcpy can you suggest some implementations for multi-threaded cpu's how we could split efficient the data into a multi-core environment ?
As you probably know there will be a big problem applying the same trick in there because the processor caching will become inefficient.
Monomorphization is a huge win not just because it means we can skip objc_msgSend: it means that method bodies can now be inlined!
@Andy would that ostensibly increase the size of the resulting binary in exchange for speed?
>The memmove function is smart enough to handle overlapping copies like this, at the cost of some performance. By ignoring potential overlap, memcpy can go faster.
The only "cost" memmove requires is a single subtract, compare, and branch to decide whether to copy front-to-back or back-to-front. In fact, the cost is so low that memcpy is an alias of memmove on iOS and OS X and many other systems.
@John: You're definitely right. C compilers have been working through the trade-offs around that with function inlining for a very long time—this is part of why -Os is different from -O3.
objc_msgSend has changed its implementation in almost every major version of OS X so far, even though it was only about 100 bytes (less than half that now).
I fully expect that we'll be seeing little performance improvements to Swift and the OS X runtime for many years to come. OS X 10.0 wasn't exactly a speed demon, either.
That said, as someone who actually uses the dynamic nature of Objective-C fairly extensively (as opposed to simply trying to write C++ with funny syntax, which is how most people seem to be using Objective-C), it's actually kind of nice to know that I'm not leaving any performance on the table today by sticking with Objective-C for a little while longer!
The first thing I learned in optimization class was not to optimize until I learned what was expensive.
It's sad to think of trading something fun and full of runtime goodness like Objective C for a bland language whose performance claim to fame is that its slightly faster at calling methods.
Swift can theoretically get even better with fully-dynamic classes (e.g. no @final), once it has access control. If a class is not exported from a module, then Swift knows that all subclasses must be defined in that module, and therefore it has the information to determine if a given method ever is overridden. If it's not, it can then optimize that method as if it were @final.
Similarly, it might be able to optimize away stored property setters, if it knows there can't be any subclasses that define willSet/didSet for the property.
Along these lines, protocols might be able to benefit as well. If Swift can determine that a non-exported protocol only has one implementation, it could optimize with the assumption that every instance of the protocol is that one implementation. Granted, this is a bit of a more esoteric optimization and less likely to actually be useful (the only single-use protocols I can think of would also be @objc, and that won't benefit). But it's another example of the sort of optimization Swift can do once it can be sure it knows the complete usage of a given (non-exported) type.
Alex: I wouldn't be surprised if a single CPU core running an optimal memcpy could saturate the system's memory write bandwidth by itself, which would mean that parallelization wouldn't help at all. Even if not true, the overhead of inter-core communication would mean it wouldn't be worthwhile unless you're copying a huge amount of data, and at that point you should probably reconsider why you need to do that anyway. Virtual memory tricks where you remap pages to merely make it *look* like the data is copied are probably a better choice if you really need it. Interesting side note, OS X's realloc implementation does exactly that when you realloc a sufficiently large allocation, rather than using memcpy.
Stephen Canon: Good point, it's not a big cost to check and switch implementations as needed.
James: Personally, I really like Swift's new features and am looking forward to using it for real work, even ignoring potential speed increases. I think that we'll see more dynamic hackery become available as the language progresses. For example, the reflect function and Mirror protocol indicate that some sort of introspection is intended to be made available, and it seems likely to me that enough will be provided to replicate what Objective-C does for the cases when you really need it.
Will CoreData implementation always stay Objective-C-dependent framework because of Swift's inability (for now, I guess) to perform runtime shenanigans?
Two typos spotted: 'shuold' and 'exmple'. Thanks for another interesting read (as usual).
Kevin: Dynamic means a lot more than just "non-@final". Has anyone figured out how to do the equivalent of NSClassFromString with arbitrary Swift classes, for example? Last I heard, that was believed to be impossible.
of 1 to Many relationship.
but after that everything was the same.
If replacing c/c++ is the goal.
what should Swift Standard Library look like and encompass.
Should there be any Class objects in it.
should be their even though Apple is reluctant to do so.
Apple will have open source yet retain control of it.
One more typo: 'If we say that objc is an instance of…' should be 'obj'.
Douglas Hill: Thanks, clearly a case of muscle memory working against me there.
Great article. One quick question, based on your ideas around potential optimisation, should we use 'final' as much as possible to improve performance (where speed is necessary)?
The equivalent code in swift might have a global side effect from the init method, e.g. a print statement.
The compiler would have to call let a = A() since there might be side effects right?
Swift method dispatch is actually slower for classes that inherit from NSObject as most classes will for the forseeable. In this case even Swift calling Swift seems to message using objc_msgSend though an extra stub converting argument calling conventions in case the class is subclassed from Objective-C.
A highly overlooked path of optimization is templates versus dynamics. Many of the same problems dynamics solve, templates can be applied with huge optimization opportunities.
When I see a benchmark comparison not using a language's features, the comparison is invalid. It is like those many Java is faster than C++ samples. Templates is a new tool that the non c++ programmers will learn to love more than messaging.
Your discussion of aliasing in C is not quite right. The strict aliasing rule in the C99 (and C11) standard makes it clear that the compiler can assume that pointers to different underlying types will not alias. That is: the C compiler is allowed to assume that NSError** and int* do not alias. Similarly, _ptr may only alias with &count if _ptr is the same type as count. This is one reason why you rarely see restrict: it's generally only useful when passing multiple pointers of the same type. This is most often the case when passing multiple arrays of numbers (for numerical computations) or blocks of untyped memory (void* or char*). The other reason you almost never see it: for most code, this kind of optimization just really doesn't matter. Most code isn't performance critical, and there's often more pressing problems (algorithm, cache usage, etc.) in code that is.
Note that C compilers may choose to be safer and treat everything as if it will alias, just as they may choose to ignore the restrict keyword, or may choose to emit less performant assembly. When strict aliasing optimizations are enabled (IIRC, -O2 will enable them on recent versions of both gcc and clang), both gcc and clang will emit better code for your examples.
Nice article. There is a typo here : Still, it shuold be good for a few percentage points.
meh: I explicitly pointed out that the NSError** example went beyond the language aliasing rules. "This is an odd case, because C's aliasing rules don't allow aliasing pointers of different types...." So, thanks for repeating it, I guess.... As for _ptr, there's nothing saying it can't be the same type. You're also allowed to alias char * to any other type, and char * values are pretty common. I tested my examples with clang at -O3 and inspected the resulting assembly to ensure the redundant loads I discussed were actually happening, so no, it won't emit better code for my examples.