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Feds Vow to Publicize Vaccine Injuries Claim Program
How to Build a Healthy Microbiome, Before, During, and After Birth
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In 2011, the US Supreme Court ruled that vaccines are "unavoidably unsafe" and that the federal Vaccine Injury Compensation Program (VICP) should be the sole remedy for all vaccine injury claims
Most claims are now filed by adults suffering vaccine injury after receiving a flu vaccine
Changes to the Vaccine Adverse Event Reporting System (VAERS) are also being proposed to improve reporting efficiency and data quality
If you or your child were to be seriously injured after receiving a routine US government-recommended vaccination, your only recourse would be to apply to the federal Vaccine Injury Compensation Program (VICP).
Suing the vaccine manufacturer (or the doctor when the vaccine was given negligently) to obtain financial compensation for medical care, pain, and suffering is out of the question, as Congress and the Supreme Court have banned vaccine product liability and vaccine injury malpractice lawsuits in the US.
Instead, vaccine injury claims are awarded or denied by US Department of Health and Human Services (DHHS) officials using US Department of Justice (DOJ) attorneys or adjudicated by "special masters" in the US Court of Federal Claims.
Why Vaccine Injury Compensation Program Was Created
The VICP was created by Congress in 1986 under the National Childhood Vaccine Injury Act because vaccine manufacturers threatened to stop producing vaccines if they weren't protected from vaccine injury lawsuits.
It was created as an alternative to a civil court lawsuit, giving partial liability protection to vaccine manufacturers, pediatricians, and other vaccine providers from civil liability for injuries and deaths caused by federally recommended childhood vaccines.1
If the injured party was denied compensation or dissatisfied with the amount of the award, they could then proceed with a civil lawsuit with certain restrictions, depending upon the case.
Unhappy with this partial liability protection, drug companies kept pushing for complete liability protection and, in 2011, convinced the US Supreme Court majority to rule that federally licensed and recommended vaccines are "unavoidably unsafe" and that the VICP should be the "sole remedy" for all vaccine injury claims.2
I think it's worth repeating, in case you just glossed over it: The reason you cannot sue a vaccine manufacturer for injury or death is because vaccines are "unavoidably unsafe."
This also means that even if it can be proven that a government recommended vaccine that injured or killed someone in America was defectively designed and could have been made less reactive, no one can sue the drug company in question.3
Funds for the VICP come from a 75 cent fee added to the cost of every dose of vaccine (so the combination MMR vaccine has a $2.25 fee tacked on to it because that shot contains three vaccines).
In effect, Congress gave the pharmaceutical industry a free ride when it comes to drug companies having any financial accountability for the safety of vaccines they sell, and vaccine users and US taxpayers are the ones paying for this program.
This is because the federal government is the biggest purchaser of vaccines provided in public health clinics. When everything is said and done, vaccine manufacturers have virtually no incentive whatsoever to ensure the safety and effectiveness of vaccines that are recommended by federal health officials and mandated by state health officials.
Unfortunately, while the VICP was originally set up to give vaccine-injured Americans an expedited, non-adversarial, less expensive administrative alternative to a civil court lawsuit, the process usually only adds more suffering.
Many vaccine victims are left waiting without support and financial assistance for years on end, while their case snakes its way through the red tape. Some VICP claimants even say they felt "attacked" by the government that was supposed to help them.
Another problem has been a lack of public awareness that this program even exists. Reportedly, federal officials operating the VICP have now vowed to publicize the program better,4 promising improvements in its literature to make it easier to understand, and improvements to its website.
They've also stated they will seek to increase awareness among health care providers, parents and expectant parents, older adults, Spanish speaking adults, as well as civil litigation and plaintiff's attorneys.
What actually happens remains to be seen. Several years ago, a comprehensive consultant report about publicizing the VICP was created at a cost of $300,000.5 Few recommendations were ever implemented however. At present, less than $20,000 of the VICP's $6.5 million annual budget is spent on public outreach.
Moreover, VICP directors didn't begin taking action on publicity until after a congressionally requested Government Accountability Office (GAO) inquiry began earlier this year. Public outreach has also been largely ignored since the program's inception. A direct quote from the book, The Vaccine Court: The Dark Truth of America's Vaccine Injury Compensation Program reads:
"One of the most OVERLOOKED provisions of the act was the requirement that the HHS Secretary conduct public awareness and outreach programs to inform the general public about the program and the eligibility to file a claim for either a vaccine-related injury or death. …This provision has been greatly ignored by the HHS Secretary."
The Associated Press6 also claims it found evidence suggesting that "the government seems intent on keeping the National Vaccine Injury Compensation Program's public profile low."
Judge Warns Publicity May Further Exacerbate Process Delays
The judge who oversees the special vaccine court in the US Court of Federal Claims warns that greater publicity may result in a greater number of filings, which means the process may take even longer than it already does.
As noted in a recent article by Insurance Journal,7 compensation through the VICP can be painfully slow—at times stretching out over a decade—and that's if your case is even approved for compensation. Most aren't. According to the Associated Press:8
"Overall, the government says it distributed $2.8 billion [from 1988] through March 2014. In recent years, the program has received more than 400 claims annually.
Claims are supposed to be resolved within 240 days, with options for another 150 days of extensions. But between the court's opening in 1988 and the end of 2012, less than 7 percent of 7,876 cases not including those claiming a vaccine caused the developmental disability autism met the 240-day target...
Hundreds have surpassed the decade mark. Several people died before getting any money."
Vaccine Injury Denialists Object to Publicizing Reality of Vaccine Injuries
Another concern among vaccine proponents is that increased publicity around the compensation program may be "misinterpreted" as a public message that vaccines can cause harm, which might dissuade people from vaccinating.
Well, the truth is vaccines can cause harm. The fact that the VICP has kept such a low profile for this long means that most people have no idea that billions of dollars have in fact been paid out to vaccine injured individuals. This is the truth, and however people want to interpret that, it deserves to be widely known that vaccine injuries can and do occur.
Unfortunately, some legal experts still vehemently deny the reality of vaccine injuries and are working overtime to remove the ability for parents to make informed vaccine decisions for their children. For example, UC Hastings law professor Dorit Reiss has been quite vocal in her opposition to changes in the VICP that would allow more vaccine injured children to be compensated.9
She's also advocating for the elimination of vaccine exemptions and has, in fact, been using her position to claim that there is no evidence vaccines cause harm, and that parents refusing to give their children all government recommended vaccines should be held criminally liable for deaths causes by infectious diseases.10 Journalists are also being manipulated into only reporting information about vaccines that the CDC, FDA, and other government agencies give them, which clearly adds to the lack of transparency on questions about vaccine safety.
According to a July 16 issue of the Nieman Reports,11 "Public health reporters say federal agencies are restricting access and information, limiting their ability to cover crucial health issues." Fed up with the perceived censorship, a group of journalists have formed a new organization called Stop the New American Censorship12 to raise awareness about this problem. Even students are being blackmailed into not reporting the truth about vaccine injuries. If they write about it, they can get charged with academic misconduct, as evidenced by this recent report13 about a Master of Science student in Australia who wrote a thesis giving evidence for the fact that the whooping cough vaccine isn't working.
Adult Flu Vaccine Injuries Dominate VICP Claims
According to the GAO's report, while the VICP was established to assist children injured by government-recommended childhood vaccines, most claims are now filed by adults suffering vaccine injury after receiving influenza vaccine. The flu vaccine was added to the VICP in 2005.14 Most cases involve adults developing Guillain-Barre Syndrome (GBS)—a crippling condition in which your immune system attacks your nerves. GBS has been a known side effect of influenza vaccines for nearly 40 years.
According to the book, The Vaccine Court: The Dark Truth of America's Vaccine Injury Compensation Program, the swine flu vaccine program was cut short in 1976 when it became clear that the swine flu vaccine was associated with serious neurological side effects such as GBS and transverse myelitis. Congress also passed the "Swine Flu Act" that same year, which transferred liability for vaccine injuries associated with the swine flu vaccine from the vaccine manufacturers to the federal government. Some influenza vaccines, including the adult high-dose flu vaccine for seniors sold under the name Fluzone, also list GBS as a potential side effect in its package insert.15
All Vaccines Carry Risks
It's important to understand that ALL vaccines carry a risk for provoking an immediate acute adverse reaction, such as anaphylactic shock, fainting, or having a seizure, which could be truly life threatening if you're driving a car or crossing a street after you have left the store where you got vaccinated, for example. Further, vaccines can impair and alter immune system responses and can also cause brain inflammation (encephalitis or encephalopathy) that may lead to permanent brain damage.
In addition, as Institute of Medicine Committees have pointed out in published reports, some individuals are more susceptible to suffering harm from vaccines because of biological, genetic, and environmental risk factors but, most of the time, doctors cannot predict who will be harmed because there are few scientific studies that have evaluated vaccine risks for individuals.16 Here are just some of the ways vaccines can impair or alter immune responses and brain function:
Some components in vaccines are neurotoxic, including heavy metals such as mercury preservatives and aluminum adjuvants; residual toxins like endotoxin and bioactive pertussis toxin; and chemicals like formaldehyde and phenooxyethanol.
The lab-altered and genetically engineered viruses and bacteria in vaccines may impair immune responses and do not stimulate the same kind of immunity that occurs when the body responds to an infectious disease
Foreign DNA/RNA from human, animal and insect cell substrates used to produce vaccines may trigger serious health problems for some people
Vaccines may alter your T-cell function and lead to chronic illness
Vaccines can trigger allergies by introducing large foreign protein molecules into your body that have not been properly broken down by your digestive tract (since they are injected). Your body can have an allergic reaction to these foreign particles
In the video below, Barbara Loe Fisher, co-founder and president of the non-profit National Vaccine Information Center (NVIC), interviews a Connecticut artist and her mother, a former professor of nursing, who developed GBS after getting a seasonal flu shot in 2008. She became permanently disabled with total body paralysis.
It's really important to understand what influenza and flu shot risks are, so that you can ask yourself, "Does my (or my child's) risk of getting influenza and developing complications outweigh the risks of getting a flu shot and developing complications?" In the end, it is up to you to become fully informed about all risks and make informed vaccine and other health care decisions for yourself or your child if you are a parent.
New Changes to VAERS
The US Centers for Disease Control and Prevention (CDC) and the Food and Drug Administration (FDA) are also proposing changes to the Vaccine Adverse Event Reporting System (VAERS). Public comments are accepted until January 23, 2015.17 In recent years VAERS has received about 30,000 vaccine-injury reports annually. The suggested changes to the VAERS reporting form are intended to "improve reporting efficiency and data quality." Significant changes include:
A special box for military-related vaccine injuries
The addition of check-boxes to indicate more specifically the location where the person was vaccinated (e.g., nursing home, pharmacy, school health clinic, etc.)
Boxes to report pre-existing conditions the person may have had prior to vaccination, such as allergies, other illnesses, and long-standing chronic health conditions
A box to list any over-the-counter and prescription drugs the person was on, as well as a list of dietary supplements or herbal remedies they may have been taking
VAERS is another critical resource that has not been given due publicity or attention. In 1999, FDA Commissioner David Kessler, MD wrote in The Journal of the American Medical Association (JAMA) that physicians failed to report up to 99 percent of all serious adverse reactions to vaccines and medications,18 and it still remains that way today. At best, a maximum of 10 percent of adverse reactions are ever reported. At present, the VAERS database19 lists 8,000 different adverse vaccine reactions, from localized swelling and anaphylactic shock to autism, coma, and death.20
According to Dr. Kessler, physicians should report when there is a suspicion that the drug may be related to a serious event; they do NOT have to establish the connection or wait for more compelling evidence. Unfortunately, most doctors today are pressured by public health officials and medical trade organizations to push vaccines and consider preventing disease through vaccines to be a primary goal of their profession.21 Some doctors go so far as to "fire" patients who refuse to get every government recommended vaccine even when patients report they have suffered reactions after previous vaccinations! If doctors would instead actively look for and report serious adverse health outcomes following vaccination, including hospitalizations, injuries and deaths, instead of dismissing them as a "coincidence," it could go a long way toward building a clinical evidence base that will reveal the whole truth about vaccine risks.
1 Supreme Court of the United States. Brief of Amici Curiae National Vaccine Information Center, It's Co-founders and 24 Other Organizations in Support
2 Supreme Court of the United States Blog. Bruesewitz v Wyeth. Feb. 22, 2011
3 NVIC Cites "Betrayal" of Consumers by US Supreme Court Giving Total Liability Shield to Big Pharma. Feb. 23, 2011
4 ABC News November 21, 2014
6 Telegram.com Novermber 17, 2014
7 Insurance Journal November 26, 2014
8 US News November 21, 2014
9 Shot of Prevention November 8, 2013
10 Hastings College of the Law August 21, 2013
11 Nieman Reports July 16, 2014
12 Stop the New American Censorship
13 ABC.net.au November 27, 2014
14 RSA.gov, Vaccine Compensation Report
15 Fluzone High-Dose Package Insert (PDF)
16 IOM Adverse Effects of Vaccines: Evidence and Causality (2012)
17 Federal Register, Request for Comment on Draft Vaccines Adverse Event Reporting System (VAERS) 2.0 Form
18 FDA.gov, Introducing MedWatch, by David Kessler (PDF)
19 VAERS Vaccine Adverse Event Reporting System and MedAlerts
20 Vaccination Council October 19, 2013
21 Wall Street Journal February 15, 2012
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J. Crew Puts Off IPO Amid Worries About Strength of Economy
The specialty retailer on Wednesday delayed its long-awaited $200 million initial public offering until early 2006.
Meredith Derby, Vicki M. Young
November 3, 2005, 12:00am
NEW YORK — Do J. Crew Group and Wall Street have a case of the jitters?
The specialty retailer on Wednesday delayed its long-awaited $200 million initial public offering until early 2006, most likely due to Wall Street losing its affection for retail shares and to concerns over the state of U.S. consumer spending. A J. Crew spokesman said Wednesday the company would not comment on the IPO or the reasons for its delay.
Still, analysts took a stab at why the retailer, one of the hottest around thanks to the turnaround efforts of Millard Drexler and his team, would hold off on its IPO, suggesting it's a case of bad timing. Analysts said uncertainty over the spending power of shoppers could have soured investors' appetite for IPOs in the retail sector. As a result, the valuation of J. Crew's IPO would be less desirable to investors.
J. Crew is probably being conservative, analysts also said. By waiting until early next year, the retailer might find itself in a more favorable market, such as last spring when specialty retailers Zumiez Inc., Volcom Inc., DSW Inc. and Citi Trends Inc. had successful IPO launches.
J. Crew revealed the delay of the IPO on Tuesday, in a filing with the Securities and Exchange Commission. The retailer, which has been majority owned by Texas Pacific Group since 1997, also announced an extension of a tender offer relating to its senior subordinated notes.
The company was expected to go public as early as this month, or at the latest by the end of 2005 after it filed a registration statement with the SEC for the IPO on Aug. 17. Earlier reports had pegged J. Crew's IPO to happen no earlier than spring 2006, and possibly the fall of next year. Goldman, Sachs & Co. and Bear, Stearns & Co Inc. are underwriters for the offering.
Tim Shimotakahara, an associate at investment banking firm D.A. Davidson & Co., said J. Crew's IPO delay was likely due to worries over the strength of consumer spending.
"I don't think it's an absolute weakness in the consumer market," said Shimotakahara, whose firm was involved in both the Zumiez and Volcom issues. "I think it's a perception of weakness … That can be a killer to an IPO because you really want to go out there and maximize valuation, and the only way to do that is to get a strong engine of institutional investors who are willing to buy into the party line that, 'Yup, the consumers are strong.'"
A hedge fund portfolio manager, whose fund invests primarily in retail and apparel stocks, said the current market is not prime for IPOs. "The equity market right now isn't that great. Stocks are going nowhere. You've got pressure on the high yield market, interest rates are heading higher and there's concern about increased inflation. The economy overall isn't that good, and companies and investors don't want to invest money right now."
In its latest second quarter, J. Crew had net earnings of $2 million, versus a net loss of $14 million in the year-earlier period, while operating income jumped to $20 million from $8 million in the prior year. The company saw revenues rise to $229 million from $188 million a year ago, while same-store sales were up 15 percent.
From 2003 to 2004, J. Crew turned around its operating loss of $31 million to an operating profit of about $38 million, helped by sales of higher-priced, higher-quality merchandise.
Howard Tubin, senior analyst at Cathay Financial who follows the specialty retail market, said it's best for the company to go public when it's still early in an operational turnaround, which many would say J. Crew is in. "You want to try to time it so you catch [an IPO] at the early stages of a turnaround. The merchandise [at J. Crew] has now been repositioned," Tubin said. "I would say that maybe if they IPO in the spring of next year, they can make their sale that much easier if they had a good Christmas … maybe they can get a higher valuation."
J. Crew has $682 million in debt and preferred stock, and the company said it would use the IPO proceeds and borrowings under a new term loan to redeem outstanding cumulative preferred stock and some debt.
But due to that debt load, Francis Gaskins, president of IPO-tracking Web site IPODesktop.com, said J. Crew is "just trying to use the [IPO] funds to restructure their debt … I think they would go public now if they could. I think they test-marketed it and people said, 'Forget it.'"
Gaskins added, "The IPO market is not that bad if the company has a good income statement." That is, investors want to see strong past earnings and sales as well as a strong outlook for growth, or, as Shimotakahara noted, "easily articulated profitability forecasts," which investors are apt to reward during an IPO. J. Crew, Gaskins said, has not posted the consistent financial results that investors like to see.
Still, one fund portfolio manager observed, "The product looks great and it's selling, so it's not the [financial results] that are a concern. The problem right now is the equity markets. No one wants to invest in retail in this environment."
That said, while Shimotakahara thinks a company of J. Crew's size is large enough to benefit from going public, he noted that "the capital markets are an unforgiving beast." So it behooves newly public companies to know that they can meet financial forecasts from the start. Otherwise, "you're going to get pushed around in the stock market, and you're not going to have the type of liquidity you had when investors were seeking you."

redpajama_set_name: RedPajamaCommonCrawl


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Price is per person per week based on 10 guests for 7 nights; land-only, subject to availability and varies by arrival date. Minimum night stay may apply. Taxes and Security Deposit additional. Subject to currency rate fluctuation; please confirm rate at time of booking. Terms and conditions apply. Blackout dates apply. Valid for booking and select travel through 12/31/2019; subject to availability. Rates vary by date of travel. Please inquire for the best prices for your preferred travel dates.
Note: There is scaffolding and construction on the building facade adjacent to the home. Some noise can be heard from inside the home between 8am and 4pm, Monday through Friday. A 3D scan of this home is available upon request. Please inquire for more information. This home has an internal elevator that is currently out of order. The fireplace in the master bedroom is ornamental but you may use the one in the sitting room. The mattress in the third bedroom is a futon mattress. The homeowners' gardeners will visit on Mondays around noon. They have a key to let themselves into the home to access the gardens in the back yard and on the terraces.
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/**
 * JPA specific support classes to implement domain classes.
 */
package org.springframework.data.jpa.domain;

redpajama_set_name: RedPajamaGithub


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Charli XCX's New Album 'Sucker' In Top 20 UK Album Chart!
According to the OfficialCharts.com, Charli XCX's album, Sucker, is number 13 in the Top 20 UK Album chart! Now, that's an amazing notice to receive! Though Charli is happy with the fantastic number turnout, she's wondering if her "angels" can help get it up even more, perhaps in the Top 10!
What do you say "angels"? Ready to get this Sucker to the top of the charts?
VIDEO: Echosmith Premieres "Bright" Music Video!
It's been a bit over a year since Echosmith released their album, Talking Dreams. Just today, February 12th, Echosmith premiered a fantastic new music video for their song "Bright" from the album and it was definitely worth the wait! It's such a beautiful song and a great setting for the hit single!
You can check out their music video down below! Also, make sure you order their Talking Dreams album on iTunes!
Sariah Releases Her 'Queen Of Hearts' EP!
Sariah was born in Boston but moved to New York City to pursue a career in music. The multi-talented dance/pop artist, known affectionately as the "Queen of Hearts," exploded onto the scene in 2010 with her Billboard Club Chart hit "Deep N Luv." Her brand new single "Aware Awake Alive" is now available on iTunes. With a new EP on the way via Reigning Heart Records, Sariah is ready to release a fresh, anthemic sound. Sariah has performed all over the United States including an east coast tour and Las Vegas. She has performed the National Anthem for the Miami Heat and New York Knicks, has participated in three off-Broadway shows, and performed at this summer's New York Musical Theatre Festival.
In celebration of her EP, Sariah performed all of the tracks live in NYC this past Sunday at The McKittrick Hotel's Manderley Bar. See photos from Sariah's special performance here.
Stay up to date on Sariah by visiting http://www.sariahmusicnow.com/.
Hilary Duff Is In Studios Working On A New Album!
It's official, everyone — Hilary Duff is back in the recording studio, but this time she's in Sweden! Soon the Disney Channel's "Lizzie McGuire" and the TV series 'Younger' star will be making a new album and we're looking forward to it!
Fergie and Josh Duhamel Stop To Visit A Friend's House! Photos Here!
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Jilly Anais Release Debut EP, 'The Juice' — Check It Out!
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Shawn Mendes has not only announced his debut album and not only is the album available for pre-order beginning today (February 2) but Shawn has dropped a brand new single titled "A Little Too Much." His debut album Handwritten, will drop on April 28!
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Q: Creating class objects objective c I started transferring my java knowlege into objective c quite recently and got into making apps with xcode too. I do have a few things I'm confused about though. First of all in java when I'm making top down games and need to shoot a projectile, I would do that somewhat like:
public class Bullet{
    int x,y;
    public bullet(double x, double y){
        this.x = x;
        this.y = y;
    }
    public void tick(){
        //logic goes in here to move bullet
    }
}

then I'd have a class with an arraylist:
public class MainClass{
    ArrayList<Bullet> bulletlist;
    public main(){
        //create an arraylist that takes Bullet objects
        bulletlist = new ArrayList<Bullet>();
        //add a new bullet at the coordinate (100,100)
        bulletlist.add(new Bullet(100,100));

    }

    //gameloop(we'll pretend that this gets called every millisecond or so)
    public void gameloop(){
        //loop through list
        for(int i = 0; i < bulletlist.size(); i++){
            //run the method tick() at the current index
            bulletlist.get(i).tick();
        }
    }
}

so... my question is how would I translate this code into objective c. Or in other terms, how do I create an arraylist similar to the one in the example that creates an object of a class , then finally loop through this and call a loop method or whatever method I create inside.

A: Objective-C has no generics, unlike Java. It wouldn't make much sense, since Objective-C is dynamically typed (for the most part). Instead, NSMutableArray and NSArray store instances of NSObject or subtypes thereof (similar to ArrayList<Object> in Java).

Something like this should get you started.
@interface MainClass()

@property(nonatomic, strong) NSMutableArray *bullets;

@end

@implementation MainClass

- (id)init {
    if (self = [super init]) {
        self.bullets = [NSMutableArray array];
        [self.bullets addObject:[[Bullet alloc] initAtX:100 y:100]];
    }

    return self;
}

- (void)gameLoop {
    [self.bullets makeObjectsPerformSelector:@selector(tick)];
}

@end

A: you create a new file inherited by NSObject with xcode, declare your header and your body, and your ArrayList<Bullet> can be a simple NSMutableArray. Your loop can look like this
NSMutableArray *bulletlist = [[NSMutableArray alloc] init];
// fill the array

for(Bullet *bullet in bulletlist) // or a simple for loop
{
    [bullet tick];
}

for steps how to create and declera a class, just check some apple tutorials :)

A: It would look like this:
// bullet.h
@interface Bullet : NSObject

@property(assign, nonatomic) CGPoint position;
- (id)initWithPosition:(CGPoint)position;

@end

// bullet.m
@implementation Bullet

- (id)initWithPosition:(CGPoint)position {

    self = [self init];
    if (self) {
        _position = position;
    }
    return self;
}

@end

Then, in some other class that uses bullets (like a view controller), declare an array to keep the bullets...
#import "Bullet.h"

// put this in the class's interface
@property(nonatomic, strong) NSMutableArray *bullets;

... and add a new bullet like this:
[self.bullets addObject:[[Bullet alloc] initWithPosition:CGPointMake(100,100}];

... and iterate bullets like this:
for (Bullet *bullet in self.bullets) {
    NSLog(@"bullet position is %@", NSStringFromCGPoint(bullet.position));
}

A: Your "main class" should be a UIViewController. It should create a UIView which is full screen on the phone. Then it adds a "CALayer" object as a sublayer of that view's layer.
There are various ways to draw into a CALayer, the best in this case would be to create a "BulletLayer" subclass of CALayer and do your drawing in that.
A view is a rectangle of the screen that the user can see and touch. A layer is a set of pixels stored in the video card's [very fast] memory that can be manipulated by your code. For best performance you will only draw the pixels once, and then move them around the screen (which can be done with animation, etc).
If you want specific answers about any particular part of that, you should ask a new question for each after checking if it's already answered somewhere.

redpajama_set_name: RedPajamaStackExchange


text:
The Dwarfie Stane is a megalithic chambered tomb carved out of a titanic block of Devonian Old Red Sandstone located in a steep-sided glaciated valley between the settlements of Quoys and Rackwick on Hoy, an island in Orkney, Scotland. The stone is a glacial erratic located in desolate peatland. The site is managed by Historic Environment Scotland.

Description

The attribution as a tomb was originally based on its resemblance to recognized tombs in southern Europe. The Dwarfie Stane is the only chambered tomb in Orkney that is cut from stone rather than built from stones and may be the only example of a Neolithic rock-cut tomb in Britain. However, despite its unique construction, its plan is consistent with the so-called Orkney-Cromarty class of chambered tomb found throughout Orkney. Some authors have referred to this type of tomb as Bookan-class, after a chambered cairn in Mainland, although there is some disagreement as to the relationship between the two tomb types.

A stone slab originally blocked the entrance to the tomb on its west side, but now lies on the ground in front of it. It is unique in northern Europe, bearing similarity to Neolithic or Bronze Age tombs around the Mediterranean. R. Castleden refers to the Dwarfie Stane as representing "the imported idea of the rock-cut tomb" that was "tried once and found to be unsatisfactory", perhaps due to the hardness, as it has been described as being built from "extremely compact" Old Red Sandstone by folklorist Hugh Miller who was also a stonemason by trade. There is no direct evidence, however, of any link to the builders of the Mediterranean rock-cut tombs.

The stone is  long, by  wide and up to  high. The entrance is a  square cut out of the west side of the rock. Inside the tomb is a passage  long and two side cells measuring  by . Both the passage and the side cells are  high. Right, southern cell has a "pillow" of uncut rock at its inner end.

History

The tomb has been plundered by making an opening through the roof of the chamber. The time of this event is not known, but the hole in the roof had been noted by the 16th century. The hole was repaired with concrete in the 1950s or 1960s.

The name is derived from local legend that a dwarf named Trollid lived there, although, ironically, the tomb has also been claimed as the work of giants. Its existence was popularised in Walter Scott's novel The Pirate published in 1821.

There is a variety of 18th- and 19th-century graffiti on the rock-cut tomb. One is an inscription in Persian calligraphy that states "I have sat two nights and so learnt patience" left by Captain William Mounsey, who camped here in 1850. Above the Persian is Mounsey's name written backwards in Latin.

See also

 Prehistoric Orkney
 Ring of Brodgar
 Standing Stones of Stenness
 Maeshowe
 World Heritage Sites in Scotland
 Timeline of prehistoric Scotland

References

Bibliography

3rd-millennium BC architecture in Scotland
Archaeological sites in Orkney
Stone Age sites in Scotland
Links of Noltland
Historic Scotland properties in Orkney
Scheduled monuments in Scotland
Neolithic Scotland
Chambered cairns in Scotland
Hoy

redpajama_set_name: RedPajamaWikipedia


This portfolio presents an overview of program vulnerabilities identified in prior Office of Inspector General audits, evaluations, investigations, and legal actions related to chiropractic services in the Medicare program. It consolidates the findings and issues identified in that work and discusses recommendations from prior reports that have not been implemented or have been implemented ineffectively. In addition, this portfolio provides information to help the Centers for Medicare & Medicaid Services understand the need for effective controls over chiropractic services and offers recommendations to help Medicare prevent fraud, waste, and abuse related to those services.


Young Adult Fiction: All Grown Up?
Saturday, March 21, 10:30 a.m. – 12:00 p.m.
Is the genre moving too far from its roots as more and more adults (and Hollywood) embrace books written and marketed for teens? Are publishers looking for subject over substance? Can good writing about real issues still engage teen readers when the bestseller popularity contest seems to rule the day?
Christine Walde is a poet and librarian. She has been published in a variety of print and online journals in both Canada and the U.S., including Branch, Carousel, The Fiddlehead, Lemonhound, The Malahat Review, The Rusty Toque, Plath Profiles and Vallum. In 2011, Baseline Press published The Black Car, a chapbook based on her research with Sylvia Plath's archives at Smith College and Indiana University, which also resulted in the recent completion of a full-length poetry manuscript, Cloud Country, exploring Sylvia Plath and Ted Hughes' camping trip to Canada in 1959. She is also the author of two books for teens: The Candy Darlings (2008) and Burning from the Inside (2013). She moved permanently to Victoria in 2012 and works at the University of Victoria Libraries.
Read an interview with Christine about her role as the YA Fiction panel moderator.
Kirsten Andersen is the Teen Services Librarian at the Greater Victoria Public Library, where she coordinates services and programs for teenagers, and is the lucky one who gets to select library materials for teens. She coordinates the Victoria Children's Literature Roundtable, which you are all invited to join. She holds an MLIS degree from McGill and an MA in Children's Literature from UBC.
Sarah Harvey is the author of ten books for children and young adults. She is the editorial director at Orca Book Publishers, where she has worked for almost ten years. In her spare time, she likes to do things that do not involve WORDS, although she still reads a lot and is working on her next YA novel, due to be published in Spring 2016.
Robin Stevenson is the author of sixteen novels for teens and children, including the 2014 Silver Birch Award winner Record Breaker, the Governor General's Award finalist A Thousand Shades of Blue, and the ALA Rainbow List selection, Inferno. Three of her novels have been finalists for the B.C. Book Prizes. Robin has two new novels coming out in 2015—a YA novel called The World Without Us and a middle-grade novel called The Summer We Saved the Bees. Robin worked as a social worker for ten years, before beginning writing while on maternity leave in 2005. She now spends her time writing, editing, teaching creative writing classes, and being a mom to her ten year old son. For more information about Robin's books, visit her website at www.robinstevenson.com.


Vanessa - Meaning Of Vanessa, What Does Vanessa Mean?
The name Vanessa is of Greek origin.
The meaning of Vanessa is "a genus of butterflies".
It is also of English origin, where its meaning is "literary invention".
Vanessa is generally used as a girl's name.
It consists of 7 letters and 3 syllables and is pronounced Va-ne-ssa.
Vanessa appeals to parents who seek a name with genuine depth.
Simple yet classic, the name is a great blend of character and flair.
Vanessa falls into the insect name category.
Some famous bearers of this name include: Vanessa Hudgens, and Vanessa L. Williams.
In the U.S. in 2017, it ranked 204 in baby name popularity for girls with 1,508 occurrences. Less than 5 boys were given the name.
In contrast, the year before it ranked 197 in baby name popularity for girls with 1,657 occurrences. Less than 5 boys were given the name.
View the Vanessa Name Popularity Page to see how the popularity trend for Vanessa has changed since 1880, or to compare the popularity of Vanessa to other names.
The names Nessie, Vanesa are all forms of Vanessa.
Then take a look at the Numerological Report For Vanessa.
Would you like to fingerspell the name Vanessa in American Sign Language?
Be creative with the name Vanessa.
Just for fun, see the name Vanessa in Hieroglyphics, learn about ancient Egyptian Hieroglyphics and write a Hieroglyphic message.
Learn about nautical flags and see your name or message written in nautical flags, on the Vanessa in Nautical Flags page.


Those nurseries that use pesticides and herbicides in greenhouses or open fields or off grounds, as well as those that have above or below ground tanks for storing chemicals, herbicides and fertilizers are required to carry coverage for pollution exposures.
There is an elevated risk in this industry for worker injuries due to the fact that there is so much heavy lifting, as well as exposure to the nurseries' chemicals. That is why workers comp is such an emphasized essential insurance coverage. In addition, there are unusual types of exposure in relation to nursery equipment as well as many trucks on site.
As far as crop insurance coverage goes, in this instance it is connected to U.S. Federal Insurance syllabuses.


Yōwa (養和) was a Japanese era name (年号,, nengō,, lit. "year name") after Jishō and before Juei. This period started in July 1181 and ended in May 1182. The reigning emperor was Antoku-tennō (安徳天皇).
1181 (Yōwa 1, 25th day of the 11th month): The wife of the late Emperor Takakura adopted the name of Kenreimon-in.
1181 (Yōwa 1): A famine that lasts for two years blights this era.
↑ Nussbaum, Louis-Frédéric. (2005). "Yōwa" in Japan Encyclopedia, p. 1064.
↑ Titsingh, Isaac. (1834). Annales des empereurs du japon, pp. 200-207; Brown, Delmer et al. (1979). Gukanshō, pp. 333-334; Varley, H. Paul. (1980). Jinnō Shōtōki. pp. 214-215.
This page was last changed on 23 November 2018, at 23:48.


New York, December 15, 2010 -- Swift Transportation Co., LLC's ('Swift') planned initial public offering of stock and debt refinancing transactions, if successfully executed with new equity raised in amounts the company is expecting, will result in an upgrade of Swift's ratings. Both the corporate family rating and probability rating are expected to be raised to B2 from B3 as a result of these transactions. In addition, Moody's expects that the proposed senior secured first lien credit facility will be rated B1 and the proposed second lien notes will be rated Caa1 on close of the refinancing transactions.
Swift's ratings were assigned by evaluating factors we believe are relevant to the credit profile of the issuer, such as i) the business risk and competitive position of the company versus others within its industry, ii) the capital structure and financial risk of the company, iii) Moody's projections of the company's performance over the near to intermediate term, and iv) management's track record and tolerance for risk. These attributes were compared against other issuers both within and outside of Swift's core industry and Swift's ratings are believed to be comparable to those of other issuers of similar credit risk.
The last rating action was on November 23, 2010, when Moody's upgrade Swift's ratings, corporate family rating to B3 from Caa1.
Swift Transportation Co, LLC ("Swift"), headquartered in Phoenix, Arizona, is one of the largest providers of truckload transportation services in the United States, with line-haul, dedicated and inter-modal freight services.


text:
SOYBEAN ASSOCIATION DIGS INTO DOMESTIC, INTERNATIONAL ISSUES
Candace Krebs, Contributing Editor
Editor�s Note: Steve Censky grew up on a southwestern Minnesota corn and soybean farm. He worked in Washington, D.C., for 10 years as a legislative assistant, at the Department of Agriculture and eventually as administrator of the Foreign Agricultural Service. He joined the American Soybean Association (ASA) in 1994 as director of international marketing and was named chief executive officer in 1996.
AM: What are the biggest issues facing your membership?
Censky: No. 1 is staying profitable in this period of low prices brought about by record global oilseed production and demand that hasn�t fully rebounded. Second, because soybeans are a commodity that�s close to 50 percent exported, the high value of the U.S. dollar has a big impact on our competitiveness. On an individual farmer level, a key issue is how the grower can maximize production and marketing efficiency.
AM: How has your association responded to the challenges posed by competition from Argentina and Brazil?
Censky: ASA has pursued policies that focus on how we can stay competitive. These policies include increased funding for agricultural research, good domestic policy such as no supply controls or unilateral trade sanctions, full planting flexibility and an adequate safety net.
Increasing competition from South America also points to the urgent need to update our infrastructure. Between 60 percent and 70 percent of our exports move through the Gulf, and we know our competitors are investing heavily in their infrastructure while ours is outdated and outmoded. That�s why we need Congress to provide funding for the study and building of expanded 1,200-foot locks on the Mississippi and Illinois rivers. Also, we�ve tried to shift our marketing efforts in recent years to market the advantages of U.S. soybeans and soy meal.
AM: How do you see the structure of the industry evolving, and what does that mean for the agribusinesses that serve farmers?
Censky: As farms continue to get larger, a lot of farmers will buy on price, while others will want services connected to the price for their inputs. I think there�s also going to be a continuing trend toward opportunities for more specialized production. These farmers will want a large degree of service connected with their inputs. We are going to see more farmers, especially larger farmers, using the Internet.
AM: Domestic soybean acreage has expanded dramatically under Freedom to Farm. How has this changed the dynamics of your organization?
Censky: Certainly, for the soybean checkoff, the expanded acreage has brought in additional revenues critical to expanding demand and usage. For ASA, it has reinforced our very traditional outward positive view of the world and the possibilities that are out there. Internally, we�ve seen some shifts in membership from the South to the West and North. Most of the soybean production growth in 2000 occurred in northern and western states, including Michigan, Wisconsin, Minnesota, North and South Dakota, Nebraska and Kansas.
One of our biggest challenges is how to develop and market member-only benefits because we have a lot of "free riders." How do we reach out to them and convince them of the merits of supporting ASA and our efforts?
AM: Do you like tofu? Do you include soy products in your diet?
Censky: The honest answer I can say is, yes, I do like tofu. I got used to eating it when I lived in China in the mid-1980s when I spent nine months at an animal husbandry institute teaching English. I like it in cooking. Nowadays, I start out with a soy protein shake every morning and occasionally eat burgers made of soy and breakfast cereals made from soy that you are starting to see on grocery shelves.
We�re going to see a lot more mainstream foods that contain soy in the years to come, partly as a result of the success we had in petitioning the Food and Drug Administration for a soy protein health claim that it reduces cholesterol and lowers the incidence of heart disease. AM


text:
Jewgienij Pawłowicz Leonow (ros. Евге́ний Па́влович Лео́нов; ur. 2 września 1926, zm. 29 stycznia 1994) – radziecki aktor filmowy i głosowy. Znany z podkładania głosu Kubusia Puchatka w filmach rysunkowych o Misiu Puszatku Fiodora Chitruka. Pochowany na Cmentarzu Nowodziewiczym w Moskwie.

Wybrana filmografia

Role filmowe
 1959: Śnieżna baśń jako Stary Rok
 1960: Tygrysy na pokładzie jako Szulejkin
 1968: Zakręt szczęścia jako fotograf Władimir Oriesznikow
 1970: Dworzec Białoruski jako Iwan Prichodko
 1971: Hełm Aleksandra Macedońskiego jako Troszkin-Docent
 1974: Premia jako brygadzista Potapow
 1976: Cyrk w cyrku jako dyrektor cyrku
 1977: Mimino jako Wołochow
 1978: Zwyczajny cud jako Król
 1979: Jesienny maraton jako Charitonow
 1980: Po zapałki jako Anti Ihalainen
 1987: Kin-dza-dza! jako Uef (Czatlanin)

Role głosowe
 1964: Kot wędkarz jako Kot wędkarz
 1969: Kubuś Puchatek i pszczoły jako Kubuś Puchatek (Miś Puszatek)
 1971: Kubuś Puchatek idzie w gości jako Kubuś Puchatek (Miś Puszatek)
 1972: Kubuś Puchatek i jego troski jako Kubuś Puchatek (Miś Puszatek)
 1972: Marzenie osiołka
 1980: Gaduła
 1981: Tygrysek na słoneczniku jako narrator
 1986-1987: Pingwinek Lolo
 1987: Jak osiołek rozchorował się ze smutku

Nagrody i odznaczenia
 1972: Ludowy Artysta RFSRR
 1978: Ludowy Artysta ZSRR

Przypisy

Bibliografia
 Galina Dołmatowska, Irina Szyłowa, Sylwetki radzieckiego ekranu, przeł. z ros. Marek Dzierwajłło, Wydawnictwo Progress, Moskwa 1980, s. 589-600.
 Jewgienij Leonow w bazie IMDb
 , chtoby-pomnili

Ludowi Artyści RFSRR
Ludowi Artyści ZSRR
Pochowani na Cmentarzu Nowodziewiczym w Moskwie
Radzieccy aktorzy filmowi
Radzieccy aktorzy głosowi
Urodzeni w 1926
Zmarli w 1994
Ludzie urodzeni w Moskwie


1.) Above is the real life counterpart of a famous Disney Character Kryptonian Warrior from the film Frozen. That leaf shaped eyes and batting eyelashes makes it more identical.
Woman Who Predicted the Fall of The Twin Towers Has Bad News for 2016 And There's More.


Much like New York, Berlin is a city that never sleeps. After the first week spent exploring Berlin through walking tours of the city/historical sites and the Jewish History Museum, we got to learn all of the adversity this great city has had to overcome in order to be the lively, progressive and historically/culturally significant city that it is today. Many times I have found myself surprised at the things that I can find throughout the city. While the vastness and fast pace of the city can be initially overwhelming, it has ultimately brought me comfort and reminds me a lot of home (Washington, D.C.). When I first arrived Berlin could not have seemed more different than home, but now I sometimes forget that I am 4,000+ miles away from DC. Berlin could definitely pass for an American city with its mix of modern and historical buildings, large diverse crowds and bustling shopping malls/centers. The public transportation system here is also very similar to the Metro system back home, so getting the hang of traveling on the U-bahn really quickly also helped a lot to orient myself with Berlin and explore more of the city quickly and confidently.
Other than a family vacation to the Barbados a few years ago, I have never been out of the country. And other than being at school for a couple months at a time, I've never been away from my family for such a long period of time, especially being so far away. Luckily, the IIP Berlin group is a great group of people and we have all become fast friends. It is really nice to have people who are just as willing to explore and try new things when you are so far away from everything thats so familiar to you. Especially since it's taking me a little longer to get used to the character of the people in Berlin.
After spending the last week exploring the sites and scenes of the city and trying new food (unpopular opinion: not a fan of curry wurst), we finally started our internships this week. I am interning at a small start-up called Pixsy. Pixsy is a small company of creatives that fight against image theft for photographers, creators and the like. Luckily, Pixsy is just a quick 20 minutes train ride away from where we are staying in Berlin, so my commute to and from work everyday is a breeze. Although Pixsy is based in Germany, majority of its customers are based in the United States and from my experience here so far, all business is conducted in English and everyone communicates in English in the office. That is a huge plus for me because other than some key phrases we learned in our German lessons last week, I know nothing of the German language. With less than 20 employees, I have been able to meet and interact with most of the team as they give me quick info sessions/lessons on how their roles connect/impact the Pixsy's overall operations. I will mostly be working with the Marketing team to help out with and improve their social media presence but will all get to help out with customer service/experience a little.
One of the best things about my internship at Pixsy so far is the culture of the office. Pixsy is a very casual, open and friendly organization. From being able to wear whatever you want, listen to music while doing work, or taking a break in the lounge full of pillows Pixsy focuses less on frivolous things and more on creating and fostering an atmosphere that helps employees feel comfortable enough to focus on their work without worrying about having to follow the usual strict rules/codes of a normal office environment.
My time here in Berlin has been amazing so far and its only been 11 days! So excited to see what Berlin and Pixsy have in store for me in the weeks to come !


text:
Messier 101 (auch als NGC 5457, Pinwheel-Galaxie oder Feuerrad-Galaxie  bezeichnet) ist eine Spiralgalaxie mit den Abmessungen 28,8′ × 26,9′ und der scheinbaren Helligkeit von 7,5 mag im Sternbild Großer Bär. Ihre Entfernung beträgt rund 21 Millionen Lichtjahre, ihr Durchmesser 170.000 Lj.

M101 verfügt über fünf prominente Begleitgalaxien: NGC 5204, NGC 5474, NGC 5477, NGC 5585 und Holmberg IV.

Beobachtungsgeschichte

Messier 101 wurde am 27. März 1781 von dem französischen Astronomen Pierre Méchain entdeckt, der die Position des Objektes an Charles Messier kommunizierte. Messier nahm das ortsfeste, mit bloßem Auge oder geringer Belichtungszeit wie ein Komet wirkende Objekt im gleichen Jahr in die endgültige Version seines Kataloges auf. Diverse helle Knoten von M101, bei denen es sich um H-II-Gebiete und/oder Sternwolken handelt, wurden später unter separaten Einträgen unter anderem in den NGC aufgenommen.

In Halton Arps Katalog ungewöhnlicher Galaxien wurde M101 im Abschnitt mit den Spiralgalaxien mit einem ausgeprägten Arm aufgenommen.

Einzelobjekte in M101

Am 28. Februar 2006 veröffentlichten NASA und ESA ein sehr eindrucksvolles Bild, das größte und detaillierteste Bild einer Galaxie, das mit Hilfe von Hubble angefertigt wurde. Das Bild wurde aus über 51 Aufnahmen zusammengesetzt.

Am 24. August 2011 wurde in M101 eine Supernova vom Typ Ia entdeckt, welche die Bezeichnung SN 2011fe erhielt.

Andere Bilder

Weblinks

 M101 bei SEDS
 M101 auf der Hubble-Seite der ESA
 Im Bann des Feuerrades - M101 visuell
 Entdeckung der Supernova PTF 11kly
 Spektrum.de: Amateuraufnahmen
 Spektrum.de: Umgebungskarte
 Arp Atlas of Peculiar Galaxies
 Seligman Arp

Einzelnachweise

Spiralgalaxie


text:
Choose Gallery:
Activates (people)
Amplifies (issue or campaign)
Strengthens (community)
Provides (a useful service)
Shifts (culture)
Sustains (change)
Does nothing (at all)
Demonstration & Protest
Film, Video & Photo
Writing & Manifestos
Advertising & Consumerism
Police & Prisons
Violence & War
Wealth & Poverty
marcelovib
An Artist Strikes Back Against Foul Subway Smells	Favorite
Practitioner:
Angela H. Kim
The New York City subway is many things, but clean isn't necessarily one of them.
It doesn't exactly smell great, either.
While the MTA hedges on solutions (and continues to debate whether eliminating trash cans from the stations actually solves sanitary issues), the artist and School of Visual Arts student Angela H. Kim is waging a personal guerilla war against the olfactory offensiveness of it all.
Kim's scratch-and-sniff posters first went up in the Canal Street, Union Square, and Herald Square stations in December as part of a school project addressing space and the senses. (She's printing out another round to hang this month.) Her signs mimic MTA service advisories, but they instead alert riders to the "odor at this station," and feature tabs that Kim scented with vanilla, lavender, orchid blossom, sweet magnolia, and tuberose oils that she bought at Michael's—probably originally intended for candles or soaps. In a clear homage to the MTA's "If You See Something, Say Something" campaign, the banner at the top of the posters implores: "If You Smell Something, Smell Something Else."
Kim, a Queens native by way of Korea, had relied on the subway for years without thinking to complain. "I was just used to it," she says. Plus, there was no other way to get around. Then came the SVA assignment, and suddenly, she couldn't stop thinking about the stench. "It's the kind of thing that once you notice it, you can't stop noticing it," she adds.
The rankness of the New York transit system is nothing new. Last May, the New York City comptroller Scott Stringer authorized an audit of the New York City Transit Authority's track clearing and subway upkeep practices. The findings were grim. Although the NYCT intends for each station to be cleaned at least 17 times per year, according to the report:
269 (97%) of the 276 underground stations received 16 visits or less from track cleaning crews during the one-year period from July 1, 2013 to June 30, 2014. Moreover, 299 stations (88%) received 8 or fewer cleanings in a year, which is less than half the number set by NYCT as a goal.
Kim's posters cite the fact that, by 2013, the MTA had hiked the cost of a single ride from $2 to $2.50; by March 2015, the fare was $2.75 per ride. But in spite of the increased revenue, the agency downsized its cleaning staff by 48 percent.
The resulting mess, Stringer wrote in a press release, "is a daily, stomach-turning insult to millions of straphangers, and it's unworthy of a world-class city."
By saying, "sorry, MTA, you need a better system for cleaning the stations if you want to charge $2.75 per ride," Kim's project reminds transit users, both in New York and everywhere, that they have a right to protest the conditions around them.
After she hung the posters, Kim would step aside to watch people react to them. "I saw a lot of positive responses—a lot of people saying 'huh, that's so true,'" she tells CityLab.
Clearly, the Office of the Comptroller's recommendations that the MTA upgrade its cleaning equipment and grow its maintenance staff must be implemented. But Governor Andrew Cuomo's scheme—announced January 8—to create "cleaner, brighter stations…with better and more intuitive wayfinding, as well as a modernized look and feel," applies to only 30 of them, and won't be completed until 2020.
Until then, rip off a lavender-scented sticker and breathe deeply.
Written by: Eillie Anzilotti
External sources:
http://www.citylab.com/navigator/2016/02/an-artist-strikes-back-against-subway-s...
Posted by erkuml on Feb 9 2016
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Giant gorillas are remarkable primates. Males routinely weigh more than 200 kilograms. It was once believed that these mighty apes lived only on the ground. But it was discovered that gorillas living in the tropical rainforests of the African nation of Gabon can climb trees as tall as 30 meters in search of leaves and fruit to feed on. This program illuminates many details of gorillas' arboreal lives. Following a large family of gorillas over nine years, touching stories of compassion are revealed, such as the support a young gorilla receives from the rest of its family after losing an arm in a severe accident.


text:
Q: interface, how to define default value I'm trying to use interfaces in my models and create a default value for it.
export interface IPerson {
  id: string;
  name: string;
}

class Person implements IPerson {
   id = '';
   name = 'John';
}

export class Family {
 constructor(public address: string,
             public members: Person[] = [new Person()]) {
 }

So, what I want to get is a family, and when the person has not name, it will be John by default.
It creates a person with name = null
how can I do it?

A: Typescript is a tool to define types of values, not the values themselves.
You can't define the value as an interface.
What you can do, is to set a default value of a Person class:
class Person implements IPerson {
   constructor(private id='', private name= 'John') {
   }
}

So, whenever you are invoking the constructor with new Person() it will create an instance with the default values.

A: Type Script follows the OOPS concept. So whatever a OOPS language does, you can do pretty much the same. As long as inheritance and variable initialization is concern, I don't see any issue in your implementation. It should work as expected.
You can see the working copy here - https://stackblitz.com/edit/angular-dbb7ij

Note
  Your class Family has the 2 parameters. The first one is address which is required field since you did not provide any default value. Second parameter is Users array and it is optional since default value is with Array of 1 entry of new User.

A: I am pretty unfamiliar with typescript angularJS syntax, but shouldn't you be creating an array of the Person class instead of the IPerson interface like this:
export class Family {
 constructor(public address: string,
         public members: Person[] = [new Person()]) {
}

A: There's no need to implement interface if class has the same name
    export interface Person {
      id?: string;
      name?: string;
    }

    export class Person {
      constructor(person?: Person) {
        return {
          id: person ? person.id : '',
          name: person ? person.name : 'John',
        }
      }
    }

    const person = new Person(); // id = '', name = 'John'
    const person2 = new Person({name: 'Morpheus'}); // id = '', name = 'Morpheus'


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Six-year-old Eliah*, suffering from acute and debilitating cerebral palsy, was admitted to a palliative care centre for children in Cape Town during 2013. Soon thereafter, he was referred to MusicWorks for pain management.
Eliah is not able to walk or even move much, as his little body is in continuous spasm. His mouth appears to be fixed in a painful grimace. When admitted, he was also severely neglected and malnourished.
During the first two sessions, Eliah was in severe pain. Bedsores and a newly inserted feeding peg caused him huge discomfort. The only sound caregivers ever heard him make was a soft whimpering.
A huge smile was Eliah's first response to our music therapist's initial approach. She observed his 'quiet presence' and glimpses of a perceptive and alive young boy in the broken little body.
By the third session, Eliah was making music.
And Eliah did not let up, sustaining this interaction for some time. This was his space to communicate.
Renee and Eliah became aware of a growing semi-circle of nurses around them – all of the palliative care wing. Some were turning around, calling to other wards to come and listen. For a child like Eliah, in their care and in his condition, his behaviour was surprising and unusual. Soon the nurses were clapping and laughing, cheering on the music.
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* Name changed to protect the child's identity.


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Hi this is Andy Buchanan. I'm sitting here in Big Fork. Sadly, I'm have to say I'm pulling out of the race. I think I have Pneumonia. So not to be continuing but that thanks everybody for all of their efforts. Sherry thanks a lot for transcribing, Joe, Dave, Matt, Kevin, everybody. I will listen to everybody's progress with interest.
Hi Joe, Hi Sherry, this is Andy, # 1 on the start list but I think I'm at the end of the line at the moment. I'm in Eureka. I spent the night in the Riverside Park with Dave and Stephen Gleasner. Doing well, a little sore in places, but you know perseverance and just keep turning the peddles over. I crossed the border yesterday about 3PM, got into Eureka at 4PM and decided to spend the night here. Doing well. We are going to press onto Whitefish today. We'll see everybody out there. Bye.


It is this latter aspect, the context, that really is a treat. As we learn how beer and brewing evolved, we also learn about about such things as potting techniques, movements of peoples across continents as well as how scientific advances such as in the Enlightenment came about. I had no idea that Ancient Egypt was pretty much a society on the bottle all of the time or that the Stuarts in the 1600s were the originators of much of the alcohol related law that still exists today – including taxing drinking as a mechanism for reducing drunkenness…outside of the Egyptian-esque Court of King James I, that is.
This is such an expansive work that it is really hard to write a review of this length. It has a certain scale others I have read do not. For example, Hornsey describes 15 different peoples between the Israelites and the Celts over almost 50 pages to trace the likely route of beer making from its birthplace in Egypt and Babylon to north-eastern Europe and Britain at the time of Christ. In addition to such anthropology, there is plenty of archaeobotany where the stuff in the pot found in the grave or the newly uncovered early medieval basement as well as review of primary documentary sources going back to the beginning of writing. Also, this is a peer-reviewed sort of scientific text which both adds to its trustworthy completeness compared to some of the recent pop histories on beer as well as to its practical status as a benchmark against which other histories are measured. For the casual reader, it should serve as either a dispute settler in itself or at least as a pointer, though its extensive bibliography, to most solutions to the questions that can arise between nerds.
I may think of more to add later as I get through the last third of the book but I can leave it here by saying this is the best history I have encountered to date.


text:
Sitora Shokhinovna Alieva () – film expert, director of the IFF "Faces of love" and the IIF Sochi, artistic director of the largest Russian national film festival "Kinotavr", official delegate of Warsaw International Film Festival, lecturer at film schools and universities, juror at numerous film festivals, including Berlinale, Venice Film Festival, etc. Member of European Film Academy.

Biography

Sitora Alieva was born in 1963 in Dushanbe, Tajik SSR. She made her film debut as an actress at the age of 7. In the following 9 years she had played about ten roles in different art and television films. In 1987 Alieva graduated from the scriptwriting and film history department (Evgeniy Surkov's class) of the Gerasimov Institute of Cinematography (VGIK) in Moscow. Then she worked for Tajikfilm in Dushanbe and in 1991 promoted Tajik films at different venues around the world including Moscow International Film Festival.

In 1991 she moved to Moscow and then began to work as Daniil Dondurey's, "Iskusstvo Kino" editor-in-chief, referent (1993-1996). In 1993 she began to work at "Kinotavr" conglomerate ran by Mark Rudinstein, and in 1999 became the director of its festival branches: IFF Sochi, IFF "Faces of Love" and the International Children's Arts Festival "Kinotavrik" (1999-2005).

In 2005, after the "Kinotavr" brand was bought by Alexander Rodnyansky, only Russian part of the festival was left, IIF Sochi and IFF "Faces of Love" were stopped. Alieva has become the permanent artistic director of the Open Russian Film Festival "Kinotavr" – the largest national film festival of the country for now (the edition of Kinotavr-2022 is cancelled).

Also, as a film expert and a festival professional, she lectures in Russia and abroad.

Since 90-s Alieva has been taking part in juries of numerous international, national, the CIS and the Baltics, student and short film festivals, including:
 2002 - Hyderabad International Film Festival
 2005 - Tallinn Black Nights Film Festival
 2006 - Mar del Plata International Film Festival
 2006 - European Film Festival Palic
 2006 - Cottbus Festival of Eastern European Cinema
 2007 - 57th Berlin International Film Festival
 2007 - 22nd Mar del Plata International Film Festival
 2007 - Zurich Film Festival
 2007 - Artfilm
 2008 - 13th International Film Festival of Kerala
 2009 - 66th Venice International Film Festival
 2009 - Reykjavík International Film Festival
 2010 - F5 Short Film Festival
 2011 - Filmfest München
 2011 - 46th Karlovy Vary International Film Festival
 2011 - 27th Warsaw Film Festival
 2011 - 52nd Thessaloniki International Film Festival
 2012 - LET'S CEE Film Festival
 2012 - 9th Golden Apricot International Film Festival
 2012 - Batumi International Art-House Film Festival
 2013 - Minsk International Film Festival "Listapad"
 2013 - 2morrow/Завтра Film Festival
 2013 - Scanorama European Film Forum
 2014 - VIII Andrey Tarkovsky International Film Festival Zerkalo (Zerkalo Film Festival)
 2015 - Sofia International Film Festival
 2016 - "Slovo" Award
 2017 - Reykjavík International Film Festival
 2018 - El Gouna Film Festival
 2018 - 2nd Pingyao Crouching Tiger Hidden Dragon International Film Festival.
 2020 - Golden Raven Arctic International Film Festival
 2020 - Pacific Meridian International Film Festival of Asian Pacific Countries
 2021 - Warsaw International Film Festival

In 2007-2010 Sitora Alieva had been Russia's official delegate of the Rome International Film Festival.

Strating from 2007 - official delegate of the Warsaw International Film Festival.

Having such an active international festival life, being part of an extensive international festival network and the main national film festival selector at the same time make Sitora one of the key figures in promoting new Russian cinema at the international film festival scene.

References

External links
 Sitora Alieva at Kinotavr film festival official website
 Sitora Alieva on Andrey Zvyagintsev for The New York Times, The New York Times
 Love letters to Hitchcock: film experts' video interviews at the «Hitchcock 9» film festival, British Council in Russia
 Fifteen Realities of Russian Cinema (Kinotavr 2012), KinoKultura''

Gerasimov Institute of Cinematography alumni
Artistic directors
Film festival directors
1963 births
Living people


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How time flies! I can't believe my nephew will be a senior this year, 2009 Graduate of Lynden High School. Ian's droll sense of humour kept me laughing during his session. Here's a couple of my faves and new backgrounds.
I had such fun photographing Lillian's 6 month session and we captured so many great images it was hard to choose which to post. Mom and dad got quite the work-out in trying to wipe the constant flow of drool since she was teething.
This sweet little one was such a good baby, sleeping for much of her session so we could capture lots of great images. I love it when parents bring in their new baby right away while they still have that fresh newborn look.
Since she was doing so well, and it was a warm day, I decided to try a few outside in the garden for something different.


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text:
Q: Informatica Repository Query to get Lookup Connection Within Informatica I have a Mapping which uses a unconnected lookup. This Mapping I use in a Session wherein I define a Relational DB connection for this lookup transformation.
Now, which repository tables will I have to query to get the connection names for all my lookups in my sessions?
I tried REP_SESS_WIDGET_CNXS, but there are only connection names for sources and targets of my sessions.
Any idea on this one?