It did take a bit of planning to make the one room living area neat and cozy. The obvious selection of lighting for a gothic bed room is candles, or LED flameless candles if you're worried about the fire hazard. The main bedroom and never utilizing a mattress is similar to some type of chocolate retail store without sugary snacks. The bed room is furnished with Nineteen Fifties Barton furniture and the set is in pale green. Ok Love the put up but I'm attempting to understand which spray paint is greatest for my wood dresser drawer that I purchased from IKEA….Its the intense wooden shade and I am trying to spary paint it black to save cash however I dont want to mess it up by using the improper spray paint… Shawna can u assist me plz.
First and foremost, decide up the whole lot on the ground, on the furnishings all through the room, even empty the drawers (if the garments had been simply thrown in there) and toss it on the bed. Unlike boys, women are extra considering using completely different colours in the bed room. Of course, when I felt able to improve my lingerie chest the furnishings market wasn't really feeling like lingerie chests at the time, and I found myself taking a look at plenty of squat dressers or über-skinny stacks made from pressboard and plastic.
This range is influenced both by a standard 18th English design and the clear traces of Shaker furniture, the outcome being a stunning class that looks good in any home and is typical of recent American furnishings. It measures 5 feet huge by simply over three.5 toes excessive, so it is sizeable, but you may appreciate the ample storage and pronounced fashion that this piece will add to any bed room house. It's advisable to place your budget in thoughts first before planning furnishings for bedroom.
Latest Turkish bed designs and Turkish bed models for traditional bedrooms, more than 8 designs of classic Turkish bed furniture with new design ideas from Turkish bedroom designers. Shabby Chic furniture will provide you with and your privacy with all the elegant environment you can also make extra sense. The hallway has some 1950s Barton furnishings and an ancestoral photograph of mine is over the dining desk. Pit-a-Pat furniture was made by E Lehman & Co of London from 1932 until World War II and is extremely type after.
This entry was posted in Bedroom Furniture and tagged bedroom, furniture, replace. Bookmark the permalink.


text:
Q: Fit a table in a single page I want to fit a table in a single page. If it is not possible, it is acceptable to have it in multiple pages.
My latex code is as shown below :
{
\documentclass[a4paper]{memoir}
\usepackage{amsmath}
\begin{document}
\begin{table}[]
\centering
\caption{Rate 1/2}
\label{parity_bit_accumulators_2}
\begin{adjustbox}{max width=\textwidth}
\begin{tabular}{|l|}
\hline
54 9318 14392 27561 26909 10219 2534 8597 \\ \hline
55 7263 4635 2530 28130 3033 23830 3651 \\ \hline
56 24731 23583 26036 17299 5750 792 9169 \\ \hline
57 5811 26154 18653 11551 15447 13685 16264 \\ \hline
58 12610 11347 28768 2792 3174 29371 12997 \\ \hline
59 16789 16018 21449 6165 21202 15850 3186 \\ \hline
60 31016 21449 17618 6213 12166 8334 18212 \\ \hline
61 22836 14213 11327 5896 718 11727 9308 \\ \hline
62 2091 24941 29966 23634 9013 15587 5444 \\ \hline
63 22207 3983 16904 28534 21415 27524 25912 \\ \hline
64 25687 4501 22193 14665 14798 16158 5491 \\ \hline
65 4520 17094 23397 4264 22370 16941 21526 \\ \hline
66 10490 6182 32370 9597 30841 25954 2762 \\ \hline
67 22120 22865 29870 15147 13668 14955 19235 \\ \hline
68 6689 18408 18346 9918 25746 5443 20645 \\ \hline
69 29982 12529 13858 4746 30370 10023 24828 \\ \hline
70 1262 28032 29888 13063 24033 21951 7863 \\ \hline
71 6594 29642 31451 14831 9509 9335 31552 \\ \hline
72 1358 6454 16633 20354 24598 624 5265 \\ \hline
73 19529 295 18011 3080 13364 8032 15323 \\ \hline
74 11981 1510 7960 21462 9129 11370 25741 \\ \hline
75 9276 29656 4543 30699 20646 21921 28050 \\ \hline
76 15975 25634 5520 31119 13715 21949 19605 \\ \hline
77 18688 4608 31755 30165 13103 10706 29224 \\ \hline
78 21514 23117 12245 26035 31656 25631 30699 \\ \hline
79 9674 24966 31285 29908 17042 24588 31857 \\ \hline
80 21856 27777 29919 27000 14897 11409 7122 \\ \hline
81 29773 23310 263 4877 28622 20545 22092 \\ \hline
82 15605 5651 21864 3967 14419 22757 15896 \\ \hline
83 30145 1759 10139 29223 26086 10556 5098 \\ \hline
84 18815 16575 2936 24457 26738 6030 505 \\ \hline
85 30326 22298 27562 20131 26390 6247 24791 \\ \hline
86 928 29246 21246 12400 15311 32309 18608 \\ \hline
87 20314 6025 26689 16302 2296 3244 19613 \\ \hline
88 6237 11943 22851 15642 23857 15112 20947 \\ \hline
89 26403 25168 19038 18384 8882 12719 7093 \\ \hline
0 14567 24965 \\ \hline
1 3908 100 \\ \hline
2 10279 240 \\ \hline
3 24102 764 \\ \hline
4 12383 4173 \\ \hline
5 13861 15918  \\ \hline
6 21327 1046 \\ \hline
7 5288 14579 \\ \hline
8 28158 8069 \\ \hline
9 16583 11098 \\ \hline
10 16681 28363 \\ \hline
11 13980 24725 \\ \hline
12 32169 17989 \\ \hline
13 10907 2767 \\ \hline
14 21557 3818 \\ \hline
15 26676 12422 \\ \hline
16 7676 8754 \\ \hline
17 14905 20232 \\ \hline
18 15719 24646 \\ \hline
19 31942 8589 \\ \hline
20 19978 27197 \\ \hline
21 27060 15071 \\ \hline
22 6071 26649 \\ \hline
23 10393 11176 \\ \hline
24 9597 13370 \\ \hline
25 7081 17677 \\ \hline
26 1433 19513 \\ \hline
27 26925 9014 \\ \hline
28 19202 8900 \\ \hline
29 18152 30647 \\ \hline
30 20803 1737 \\ \hline
31 11804 25221 \\ \hline
32 31683 17783 \\ \hline
33 29694 9345 \\ \hline
34 12280 26611 \\ \hline
35 6526 26122 \\ \hline
36 26165 11241 \\ \hline
37 7666 26962 \\ \hline
38 16290 8480 \\ \hline
39 11774 10120 \\ \hline
40 30051 30426 \\ \hline
41 1335 15424 \\ \hline
42 6865 17742 \\ \hline
43 31779 12489 \\ \hline
44 32120 21001 \\ \hline
45 14508 6996 \\ \hline
46 979 25024 \\ \hline
47 4554 21896 \\ \hline
48 7989 21777 \\ \hline
49 4972 20661 \\ \hline
50 6612 2730 \\ \hline
51 12742 4418 \\ \hline
52 29194 595 \\ \hline
53 19267 20113  \\ \hline
\end{tabular}
\end{adjustbox}
    \end{table}
 \end{document}
}

A: See one of these corresponds to what you want:
\documentclass[a4paper, table, svgnames]{memoir}
\usepackage{amsmath}
\usepackage{showframe, adjustbox}
\renewcommand\ShowFrameLinethickness{0.3pt}
\usepackage{booktabs, cellspace}

\begin{document}

%\begin{table}[]
%\centering\small
%\caption{Rate 1/2}
%\label{parity_bit_accumulators₂}
%\begin{tabular}{|l|l|}
%\hline
%54 9318 14392 27561 26909 10219 2534 8597 & 22 6071 26649 \\ \hline
%55 7263 4635 2530 28130 3033 23830 3651 & 23 10393 11176 \\ \hline
%56 24731 23583 26036 17299 5750 792 9169 & 24 9597 13370 \\ \hline
%57 5811 26154 18653 11551 15447 13685 16264 & 25 7081 17677 \\ \hline
%58 12610 11347 28768 2792 3174 29371 12997 & 26 1433 19513 \\ \hline
%59 16789 16018 21449 6165 21202 15850 3186 & 27 26925 9014 \\ \hline
%60 31016 21449 17618 6213 12166 8334 18212 & 28 19202 8900 \\ \hline
%61 22836 14213 11327 5896 718 11727 9308 & 29 18152 30647 \\ \hline
%62 2091 24941 29966 23634 9013 15587 5444 & 30 20803 1737 \\ \hline
%63 22207 3983 16904 28534 21415 27524 25912 & 31 11804 25221 \\ \hline
%64 25687 4501 22193 14665 14798 16158 5491 & 32 31683 17783 \\ \hline
%65 4520 17094 23397 4264 22370 16941 21526 & 33 29694 9345 \\ \hline
%66 10490 6182 32370 9597 30841 25954 2762 & 34 12280 26611 \\ \hline
%67 22120 22865 29870 15147 13668 14955 19235 & 35 6526 26122 \\ \hline
%68 6689 18408 18346 9918 25746 5443 20645 & 36 26165 11241 \\ \hline
%69 29982 12529 13858 4746 30370 10023 24828 & 37 7666 26962 \\ \hline
%70 1262 28032 29888 13063 24033 21951 7863 & 38 16290 8480 \\ \hline
%71 6594 29642 31451 14831 9509 9335 31552 & 39 11774 10120 \\ \hline
%72 1358 6454 16633 20354 24598 624 5265 & 40 30051 30426 \\ \hline
%73 19529 295 18011 3080 13364 8032 15323 & 41 1335 15424 \\ \hline
%74 11981 1510 7960 21462 9129 11370 25741 & 42 6865 17742 \\ \hline
%75 9276 29656 4543 30699 20646 21921 28050 & 43 31779 12489 \\ \hline
%76 15975 25634 5520 31119 13715 21949 19605 & 44 32120 21001 \\ \hline
%77 18688 4608 31755 30165 13103 10706 29224 & 45 14508 6996 \\ \hline
%78 21514 23117 12245 26035 31656 25631 30699 & 46 979 25024 \\ \hline
%79 9674 24966 31285 29908 17042 24588 31857 & 47 4554 21896 \\ \hline
%80 21856 27777 29919 27000 14897 11409 7122 & 48 7989 21777 \\ \hline
%81 29773 23310 263 4877 28622 20545 22092 & 49 4972 20661 \\ \hline
%82 15605 5651 21864 3967 14419 22757 15896 & 50 6612 2730 \\ \hline
%83 30145 1759 10139 29223 26086 10556 5098 & 51 12742 4418 \\ \hline
%84 18815 16575 2936 24457 26738 6030 505 & 52 29194 595 \\ \hline
%85 30326 22298 27562 20131 26390 6247 24791 & 53 19267 20113 \\ \hline
%86 928 29246 21246 12400 15311 32309 18608 \\ \hline
%87 20314 6025 26689 16302 2296 3244 19613 \\ \hline
%88 6237 11943 22851 15642 23857 15112 20947 \\ \hline
%89 26403 25168 19038 18384 8882 12719 7093 \\ \hline
%0 14567 24965 \\ \hline
%1 3908 100 \\ \hline
%2 10279 240 \\ \hline
%3 24102 764 \\ \hline
%4 12383 4173 \\ \hline
%5 13861 15918 \\ \hline
%6 21327 1046 \\ \hline
%7 5288 14579 \\ \hline
%8 28158 8069 \\ \hline
%9 16583 11098 \\ \hline
%10 16681 28363 \\ \hline
%11 13980 24725 \\ \hline
%12 32169 17989 \\ \hline
%13 10907 2767 \\ \hline
%14 21557 3818 \\ \hline
%15 26676 12422 \\ \hline
%16 7676 8754 \\ \hline
%17 14905 20232 \\ \hline
%18 15719 24646 \\ \hline
%19 31942 8589 \\ \hline
%20 19978 27197 \\ \hline
%21 27060 15071 \\ \hline
%
%\end{tabular}
% \end{table}

\begin{table}[!htb]
  \centering\small
  \setlength\cellspacetoplimit{3.2pt}
  \setlength\cellspacebottomlimit{2.7pt}
  \caption{Rate 1/2}
  \label{parity_bit_accumulators₂}
  \begin{tabular}[t]{|Sl|}
    \hline
    54 9318 14392 27561 26909 10219 2534 8597 \\ \hline
    55 7263 4635 2530 28130 3033 23830 3651 \\ \hline
    56 24731 23583 26036 17299 5750 792 9169 \\ \hline
    57 5811 26154 18653 11551 15447 13685 16264 \\ \hline
    58 12610 11347 28768 2792 3174 29371 12997 \\ \hline
    59 16789 16018 21449 6165 21202 15850 3186 \\ \hline
    60 31016 21449 17618 6213 12166 8334 18212 \\ \hline
    61 22836 14213 11327 5896 718 11727 9308 \\ \hline
    62 2091 24941 29966 23634 9013 15587 5444 \\ \hline
    63 22207 3983 16904 28534 21415 27524 25912 \\ \hline
    64 25687 4501 22193 14665 14798 16158 5491 \\ \hline
    65 4520 17094 23397 4264 22370 16941 21526 \\ \hline
    66 10490 6182 32370 9597 30841 25954 2762 \\ \hline
    67 22120 22865 29870 15147 13668 14955 19235 \\ \hline
    68 6689 18408 18346 9918 25746 5443 20645 \\ \hline
    69 29982 12529 13858 4746 30370 10023 24828 \\ \hline
    70 1262 28032 29888 13063 24033 21951 7863 \\ \hline
    71 6594 29642 31451 14831 9509 9335 31552 \\ \hline
    72 1358 6454 16633 20354 24598 624 5265 \\ \hline
    73 19529 295 18011 3080 13364 8032 15323 \\ \hline
    74 11981 1510 7960 21462 9129 11370 25741 \\ \hline
    75 9276 29656 4543 30699 20646 21921 28050 \\ \hline
    76 15975 25634 5520 31119 13715 21949 19605 \\ \hline
    77 18688 4608 31755 30165 13103 10706 29224 \\ \hline
    78 21514 23117 12245 26035 31656 25631 30699 \\ \hline
    79 9674 24966 31285 29908 17042 24588 31857 \\ \hline
    80 21856 27777 29919 27000 14897 11409 7122 \\ \hline
    81 29773 23310 263 4877 28622 20545 22092 \\ \hline
    82 15605 5651 21864 3967 14419 22757 15896 \\ \hline
    83 30145 1759 10139 29223 26086 10556 5098 \\ \hline
    84 18815 16575 2936 24457 26738 6030 505 \\ \hline
    85 30326 22298 27562 20131 26390 6247 24791 \\ \hline
    86 928 29246 21246 12400 15311 32309 18608 \\ \hline
    87 20314 6025 26689 16302 2296 3244 19613 \\ \hline
    88 6237 11943 22851 15642 23857 15112 20947 \\ \hline
    89 26403 25168 19038 18384 8882 12719 7093 \\ \hline
    \phantom{0}0 14567 24965 \\ \hline
    \phantom{0}1 3908 100 \\ \hline
    \phantom{0}2 10279 240 \\ \hline
    \phantom{0}3 24102 764 \\ \hline
    \phantom{0}4 12383 4173 \\ \hline
    \phantom{0}5 13861 15918 \\ \hline
    \phantom{0}6 21327 1046 \\ \hline
    \phantom{0}7 5288 14579 \\ \hline
    \phantom{0}8 28158 8069 \\ \hline
  \end{tabular}
  \qquad
  \begin{tabular}[t]{|Sl|}
    \hline
    \phantom{0}9 16583 11098 \\ \hline
    10 16681 28363 \\ \hline
    11 13980 24725 \\ \hline
    12 32169 17989 \\ \hline
    13 10907 2767 \\ \hline
    14 21557 3818 \\ \hline
    15 26676 12422 \\ \hline
    16 7676 8754 \\ \hline
    17 14905 20232 \\ \hline
    18 15719 24646 \\ \hline
    19 31942 8589 \\ \hline
    20 19978 27197 \\ \hline
    21 27060 15071 \\ \hline
    22 6071 26649 \\ \hline
    23 10393 11176 \\ \hline
    24 9597 13370 \\ \hline
    25 7081 17677 \\ \hline
    26 1433 19513 \\ \hline
    27 26925 9014 \\ \hline
    28 19202 8900 \\ \hline
    29 18152 30647 \\ \hline
    30 20803 1737 \\ \hline
    31 11804 25221 \\ \hline
    32 31683 17783 \\ \hline
    33 29694 9345 \\ \hline
    34 12280 26611 \\ \hline
    35 6526 26122 \\ \hline
    36 26165 11241 \\ \hline
    37 7666 26962 \\ \hline
    38 16290 8480 \\ \hline
    39 11774 10120 \\ \hline
    40 30051 30426 \\ \hline
    41 1335 15424 \\ \hline
    42 6865 17742 \\ \hline
    43 31779 12489 \\ \hline
    44 32120 21001 \\ \hline
    45 14508 6996 \\ \hline
    46 979 25024 \\ \hline
    47 4554 21896 \\ \hline
    48 7989 21777 \\ \hline
    49 4972 20661 \\ \hline
    50 6612 2730 \\ \hline
    51 12742 4418 \\ \hline
    52 29194 595 \\ \hline
    53 19267 20113 \\ \hline
  \end{tabular}
\end{table}
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
\begin{table}[!htb]\centering%
  \setlength\aboverulesep{0pt}
  \setlength\belowrulesep{0pt}
  \setlength\cellspacetoplimit{3.5pt}
  \setlength\cellspacebottomlimit{3pt}
  \caption{Rate 1/2}
  \label{parity_bit_accumulators₂}
  \rowcolors{1}{Gainsboro!25}{Gainsboro!50!Lavender!}
  \arrayrulecolor{Gainsboro!60!RoyalBlue}
  \small
  \begin{tabular}[t]{Sl}
    \toprule[0.5ex]
    54 9318 14392 27561 26909 10219 2534 8597 \\
    55 7263 4635 2530 28130 3033 23830 3651 \\
    56 24731 23583 26036 17299 5750 792 9169 \\
    57 5811 26154 18653 11551 15447 13685 16264 \\
    58 12610 11347 28768 2792 3174 29371 12997 \\
    59 16789 16018 21449 6165 21202 15850 3186 \\
    60 31016 21449 17618 6213 12166 8334 18212 \\
    61 22836 14213 11327 5896 718 11727 9308 \\
    62 2091 24941 29966 23634 9013 15587 5444 \\
    63 22207 3983 16904 28534 21415 27524 25912 \\
    64 25687 4501 22193 14665 14798 16158 5491 \\
    65 4520 17094 23397 4264 22370 16941 21526 \\
    66 10490 6182 32370 9597 30841 25954 2762 \\
    67 22120 22865 29870 15147 13668 14955 19235 \\
    68 6689 18408 18346 9918 25746 5443 20645 \\
    69 29982 12529 13858 4746 30370 10023 24828 \\
    70 1262 28032 29888 13063 24033 21951 7863 \\
    71 6594 29642 31451 14831 9509 9335 31552 \\
    72 1358 6454 16633 20354 24598 624 5265 \\
    73 19529 295 18011 3080 13364 8032 15323 \\
    74 11981 1510 7960 21462 9129 11370 25741 \\
    75 9276 29656 4543 30699 20646 21921 28050 \\
    76 15975 25634 5520 31119 13715 21949 19605 \\
    77 18688 4608 31755 30165 13103 10706 29224 \\
    78 21514 23117 12245 26035 31656 25631 30699 \\
    79 9674 24966 31285 29908 17042 24588 31857 \\
    80 21856 27777 29919 27000 14897 11409 7122 \\
    81 29773 23310 263 4877 28622 20545 22092 \\
    82 15605 5651 21864 3967 14419 22757 15896 \\
    83 30145 1759 10139 29223 26086 10556 5098 \\
    84 18815 16575 2936 24457 26738 6030 505 \\
    85 30326 22298 27562 20131 26390 6247 24791 \\
    86 928 29246 21246 12400 15311 32309 18608 \\
    87 20314 6025 26689 16302 2296 3244 19613 \\
    88 6237 11943 22851 15642 23857 15112 20947 \\
    89 26403 25168 19038 18384 8882 12719 7093 \\
    \phantom{0}0 14567 24965 \\
    \phantom{0}1 3908 100 \\
    \phantom{0}2 10279 240 \\
    \phantom{0}3 24102 764 \\
    \phantom{0}4 12383 4173 \\
    \phantom{0}5 13861 15918 \\
    \phantom{0}6 21327 1046 \\
    \phantom{0}7 5288 14579 \\
    \phantom{0}8 28158 8069 \\
    \bottomrule[0.5ex]
  \end{tabular}
  \qquad
  %\rowcolors{1}{Gainsboro!50!Lavender!}{Gainsboro!25}
  \begin{tabular}[t]{Sl}
    \toprule[0.5ex]
    \phantom{0}9 16583 11098 \\
    10 16681 28363 \\
    11 13980 24725 \\
    12 32169 17989 \\
    13 10907 2767 \\
    14 21557 3818 \\
    15 26676 12422 \\
    16 7676 8754 \\
    17 14905 20232 \\
    18 15719 24646 \\
    19 31942 8589 \\
    20 19978 27197 \\
    21 27060 15071 \\
    22 6071 26649 \\
    23 10393 11176 \\
    24 9597 13370 \\
    25 7081 17677 \\
    26 1433 19513 \\
    27 26925 9014 \\
    28 19202 8900 \\
    29 18152 30647 \\
    30 20803 1737 \\
    31 11804 25221 \\
    32 31683 17783 \\
    33 29694 9345 \\
    34 12280 26611 \\
    35 6526 26122 \\
    36 26165 11241 \\
    37 7666 26962 \\
    38 16290 8480 \\
    39 11774 10120 \\
    40 30051 30426 \\
    41 1335 15424 \\
    42 6865 17742 \\
    43 31779 12489 \\
    44 32120 21001 \\
    45 14508 6996 \\
    46 979 25024 \\
    47 4554 21896 \\
    48 7989 21777 \\
    49 4972 20661 \\
    50 6612 2730 \\
    51 12742 4418 \\
    52 29194 595 \\
    53 19267 20113 \\
    \bottomrule[0.5ex]
  \end{tabular}
\end{table}

\end{document}

redpajama_set_name: RedPajamaStackExchange


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text:
Dana Aliya Levinson (עברית: דנה עליה לוינסון), born in 1992, is a television writer, actress, and Jewish transgender advocate best known for her roles as Toni Rykener on the television series American Gods, Sadie Lipton in The Good Fight, and Hazel in the independent film Adam which had its world premiere at the 2019 Sundance Film Festival.

Early life
Levinson was born in Great Neck, New York to father Lee Levinson, a dentist of Latvian and Lithuanian Ashkenazi Jewish descent and mother, Amy Levinson, a jewelry designer of German and French Ashkenazi, as well as Portuguese, Moroccan, and Turkish Sephardi descent. She has two brothers, Daniel Levinson, who is a published author, and Michael Levinson, who is a comedian and screenwriter. Levinson's maternal grandfather, Vic Cowen, was a comedy writer for Bob and Ray.

Levinson has spoken extensively about how her Jewishness and upbringing in a majority Jewish town has deeply affected her creative perspective and voice as a writer.

Levinson attended Great Neck South High School as well as The Village School. For undergraduate studies, she attended the New School.

Professional life
Levinson studied music theory, composition, and piano, from a young age. While in undergrad, she began writing musical theater and corralling her fellow students into recording demos for her. Her first full-length musical as a composer and lyricist, 5th Republic, written with Stacey Weingarten, premiered at the New York Musical Festival (NYMF) in 2011 under the title Les Enfants de Paris. A demo recording of select songs from the show sung by Farah Siraj, Santino Fontana, Derek Klena, Laura Osnes, Alexander Gemignani, Kareem Youssef, Mariana Saba, and also the late Bassam Saba on Oud and Ney, was released online in 2014. Her second musical, MADAME, written with Stacey Weingarten and L Morgan Lee, was given a developmental reading at NYMF in 2012.

Levinson was selected as a 2014-2015 Dramatists Guild Fellow alongside her writing partner, Stacey Weingarten. There, she continued to develop both shows under the mentorship of Michael Korie. 5th Republic went on to have further development with the Musical Theater Factory, and Broadway au Carré in Paris, culminating in a concert version of the show at Comédie Nation featuring Lisandro Nesis, Maxime Guerville, Manon Taris, Kaïna Blada, Perle Solves, and Bastien Jacquemart as the show's leads.

Levinson also received an honorable mention for the inaugural Billie Burke Ziegfeld Award, which recognizes female musical theater writers.

Levinson wrote all of the musical arrangements, as well as collaborating with Stacey Weingarten on additional story, for the world premiere of LUDO's Broken Bride at NYMF, based on the band's concept album of the same name. The show had been previously developed as part of Ars Nova's ANTFest, as well as in a staged concert at The Cutting Room.

After years of only writing, Levinson began acting in 2017 with her first professional lead role, Grace, in the world premiere of the play Ballast by Georgette Kelly at Diversionary Theater in San Diego. This was soon followed by her role as Hazel, a trans lesbian political activist and girlfriend of Casey (played by Margaret Qualley), in the film Adam, directed by Rhys Ernst, and produced by Howard Gertler and James Schamus. Soon after, she landed the role of Toni Rykener, a trans woman demigoddess and protector of queer love, in the series American Gods on Starz. The episode garnered a Directors Guild of Canada Award for its director, Tim Southam. About the role, Levinson said:"There is something radical about a queer character being granted eternal life when the world does all it can to make sure we don't live on at all. To LGBTQ fans of American Gods, I love you and you too are sacred."Levinson also appeared alongside Rob Reiner, Audra McDonald, Lorraine Toussaint, and Delroy Lindo in The Good Fight as Sadie Lipton, a trans woman swimmer who is attempting to qualify for the Olympics as well as the short films November 9, and The Dress You Have On, which premiered at OutFest in 2018. Levinson's writing efforts have also refocused toward film and television, and she has worked in developmental writer's rooms, most recently for ViacomCBS.

Personal life
Levinson is a non-binary trans femme person and uses she and they pronouns.

Levinson is a big fan of the Harry Potter franchise. When its author, JK Rowling, posted a series of, according to Levinson, 'transphobic statements' online, Levinson wrote an open letter to her which was published on The Huffington Post. This letter landed Levinson on season 5, episode 16 of the podcast Dan Fogler's 4D Experience, hosted by Dan Fogler who plays Jacob Kowalski in the Fantastic Beasts franchise. There, she discussed her experience with the Harry Potter series, as well as how Rowling's words were providing fodder for transphobic legislation that puts trans people's lives at risk.

Short films
 November 9
 The Dress You Have On

References

Year of birth missing (living people)
Living people
Jewish American entertainers
American non-binary actors
Transgender non-binary people
Transgender actors
1992 births
Transgender Jews
Transgender screenwriters

redpajama_set_name: RedPajamaWikipedia


text:
Nikita Mazepin's Net Worth (Updated 2022)
What is Nikita Mazepin's net worth?
Born: March 2, 1999
Height: 1.76 m (5 ft 9 in)
Country of Origin: Russia
Source of Wealth: Professional Racing Driver
Nikita Dmitryevich Mazepin is a Russian professional racing driver who has quickly become one of the most skilled drivers in Formula One.
Although he has been racing since 2014, he entered Formula One in 2019 and quickly established himself as a strong competitor.
However, since 2022, he has been suspended due to the ongoing Russian invasion of Ukraine and his father's ties to the Russian government.
As of December 2022, Nikita Mazepin's net worth is estimated to be $100 Million.
Nikita Mazepin Facts
Nikita Mazepin started his kart racing career in 2011 after winning the Russian Karting championship.
In 2014, Mazepin won his first podium position at the MRF Challenge Formula 2000.
Mazepin helped his team win the GP3 Series team championship in 2018.
In 2021, Mazepin joined the Haas F1 team, competing under a neutral flag for the Russian Automobile Federation.
The same year, Mazepin competed in the Formula One World Championship.
Nikita Dmitryevich Mazepin was born March 2, 1999, in Moscow, Russia, to Dmitry Mazepin, a Russian-Belarusian oligarch who is the primary chairman and shareholder of the chemical company Uralchem.
In 2011, Nikita won the Russian Karting championship and…
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Mate Rimac Puts Sveta Nedelja at Top of EU Investment in Climate Tech
‹ Mercedes AMG GT3 achievements of the 2022 season › 10 Fastest British Sports Sedans Ever Made

redpajama_set_name: RedPajamaCommonCrawl


text:
Interview with Ralph Session [MI4L.com]
Hi Ralph, nice to speak to you, how are you?
Nice to chat with you as well. I've been busy but things are good.
Tell us bit about Half Assed. What is the story behind the label? How did it come to form?
Haha I'm definitely going to be asked this a lot. I guess it was out of necessity really. I'm sure anyone who has shopped demos knows that the process can be lengthy. You're usually faced with a decision to keep shopping it, shelf it or put it out yourself. Having a label before I was comfortable enough to go that route again as an outlet for releasing my own music.
Ultimately Half Assed is a reminder to me to not take things so seriously when it comes to music production. Sometimes we get all stressed out over a track. I have struggled to finish songs trying to make them perfect. Usually it results in an unfinished ideas. So it's best to step back and enjoy the process more. Sometimes you gotta keep it Half Assed.
Why the name?
Ralph Session came along in 2 parts. When I was a breakin' I went by Session. Session because I was always down for a practice session, a smoke session etc. It was multifaceted. When I started producing music E-Man said to me "What if you use Ralph Session"? Being Ralph is my real name, Ralph Session was born. It felt right because it kept a piece of my dancing background and part the real me and turned it into something new.
How would you describe your sound?
House, I say that because when I was introduced to House Music back in '03, the one thing I quickly found out is that theres many sides to this thing we call house. I tend to lean towards the New York Deep House, Classic sounding tracks. As well as Chicago, funky, disco shit. But I go where the track takes me. I'm not afraid to be in multiple sub-genres of house. They all have influence on my choices in the studio.
Were you always musical growing up? What drove you towards your sound?
Not in the traditional sense. My family is from the Bronx so I had a lot of Disco, Soul and Latin music around me growing up. Saturday mornings my mother would blast music while we cleaned the house. When I was 14 I got a pair of belt drive Gemini's and would use them to play breaks for me and my boys to practice to. All the years I was a B-Boy made me dig for music to dance with. Those records were lessons into funk, soul & Hip Hop that still live with me today. I was always a fan of R&B. Growing up in the 90's we had a lot of great artists everywhere. I think thats where I get my love of vocals from. I would say my sound was shaped by Shelter parties in New York in the beginning. Cielo was a big deal for me back when it opened. It has an underground vibe but is beautiful inside.
What would you say the scene in New York is like right now? What's good / bad?
Right now I don't know because I moved out of New York last year.
But New York's scene is always changing like the city. Theres at least a couple parties every night. We have had a lot of places shut down but there seems to always be new ones popping up to replace them. You really can find any sound you want. There will be a party for it. You just have to look. A lot of the proper house spots moved from the city to Brooklyn. Thats probably been the biggest shift in the last decade. One of the best parts for me though is the late night food scene. I feel it's a major part of why the New York scene is so dope. Its that icing on the cake after a great night. Then you hit an after-hours spot!
The bad!!!! – If I was to say one thing to its downside it would be the cover charges. New York is expensive so look for the cheaper pre sales to save some money for drinks.
Where do you draw inspiration from before getting in the studio?
I would like to say I have all these ideas in my head and whatever but honestly no. I mean there's the obvious inspirations like Kerri Chandler and MAW. But inspiration is in everything. But most for me comes when I find that sample or Chord progression that hits me. On a good day the track just falls into place and you find the right sounds quicker than other times and everything flows. Sometimes I fall asleep listening to the same loop for hours. You have to constantly look for inspiration because that shit runs out.
Why the move to Barcelona?
I fell in love with this city when I came here in 2015 for a gig at The Vocal Booth Weekender (great party def go). I was looking for a city with a beach and a lighter winter really. New York winters are brutal and I feel like a different person in the winter. It helps that Barcelona has a pretty good music scene here too. There are always great local and international Dj's playing here. I haven't been here long but it's been a great experience so far. The people are truly amazing.
Would you say your sound has changed since the move?
I wouldn't say it's changed much. I would say that I finally have a good work flow. So I can get ideas down quicker and be more interactive.
What do you do to unwind outside of the studio?
The beach to relax. Cooking and Weed. They just go so well together. I have a Puerto Rican, Cuban and Italian back round so I have a lot of cuisines to choose from. My family has taught me well. Most of my Instagram is food pictures
What music do you listen to aside from house?
Old School Hip-Hop, R&B, Funk, Soul, Disco and Jazz usually.
Any advice to younger producers wanting to start a label?
Wait, or better yet think it through. Plan it out. Get a bunch of releases finished first. Find a friend who wants to be part of it, It lessens the work load. If you're a younger producer, meaning you haven't been producing and releasing music for that long then maybe it's best to shop and hone your skills. You have to focus on the label as a label and not just as an artist. I am going through that same issue right now. That takes away from time in the studio so be prepared for tedious tasks not related to music.
What does the future hold for Ralph Session? Any further goals or ambitions to achieve?
Like Biggie said "Sky's the limit". Dj bookings, Remixing again, pretty much everything. But I am just happy to be releasing music again after a 4 year hiatus. So for me its like day one, a new artist to look out for. I am in a better place in my life and am ready for what comes my way. I moved to Barcelona to be closer to the parties and clubs I want to play in. I hope you'll come for the ride.
Where We Started is out 18th September!
September 17, 2018 By Contributing Writer


"eBay paid its first cash dividend of 14 cents per share to shareholders:" is the news eBay CEO shared via Twitter yesterday. The announcement marks eBay's promise made in January to pay first-ever dividends to their investors in March.
In the last quarter, eBay achieved $763m in revenue, with just under $130m dividends paid to eBay shareholders.
eBay have started carrying out their promise to return substantial capital to shareholders. However, the question is whether dividends will be enough to appease eBay investors.
eBay's largest investor with shares worth about $1.4bn (£1.07bn), Elliott Associate want to split and sell the business units off and strip out layers of management to return millions to shareholders as a result of their disappointment in eBay's recent performance.
So 17% of revenue goes to SHAREHOLDERS instead of being invested in the creaking site or to cut the cost of selling on Ebay.
This money is made entirely off the backs of Ebay sellers and is being given away so Wenig and Co can keep their jobs for a bit longer.
Shareholders always want more, so the next dividend will have to be even bigger to appease them.
Let's see if Ebay give sellers a "dividend" in the seller release, shall we?
Or will it be the usual kick in the teeth for sellers with more fees rises and more pointless complication.
This is a very simplistic explanation, but shareholders invest to make a profit and need to get it somehow. The only question is which way is least evil. It's also fair to say that eBay is a cash cow and spunked millions on building PayPal which they no longer have to support so they do have funds flowing in and returning cash to shareholders either through dividends or by buying back shares thus driving up the price (although not pleasing to sellers) is a smart thing to do.
eBay is in a very vulnerable position and ripe for plundering. With such weak upper management it won't be long before the vultures swoop.
Wenig publicly posturing that this was somehow his plan that he's "delighted to share" is hilarious and just further illustrates what a sketchy weasel the guy is.
He's very fortunate Elliott was around to give him a strat plan to execute on.
Wenig should be relieved as CEO, and fingers-crossed he will no longer be the CEO of eBay's marketplace in 12 months.


text:
var path = require('path');
var expect = require('chai').expect;

var config = require('../lib/config');

describe('Configuration', function() {

	describe('Should accept options', function() {

		beforeEach(function() {
			config.reset();
		});
		afterEach(function() {
			config.reset();
		});

		it('Should load correct value for working dir', function() {
			var workingDir = path.join(process.cwd(), 'test/files/modules');
			var options = {
				workingDirectory: workingDir
			};
			config.set(options);
			var settings = config.get();
			expect(settings.workingDirectory).to.equal(workingDir);
		});
		it('Should change modes correctly', function() {
			config.setMode('html');
			var settings = config.get();
			expect(settings.referencingFileFilter).to.have.length(2);
			expect(settings.referencingFileFilter).to.contain('*.html');
			expect(settings.workingDirectory).to.equal(process.cwd());
		});
		it('Should accept new file filter', function() {
			var options = {
				referencingFileFilter: ['index.js']
			};
			config.set(options);
			var settings = config.get();
			expect(settings.referencingFileFilter).to.have.length(1);
			expect(settings.referencingFileFilter).to.contain('index.js');
		});
		it('Should change modes and accept new file filter', function() {
			config.setMode('html');
			var options = {
				referencingFileFilter: ['index.html']
			};
			config.set(options);
			var settings = config.get();
			expect(settings.referencingFileFilter).to.have.length(1);
			expect(settings.referencingFileFilter).to.contain('index.html');
		});

	});

	describe('Should accept custom rc file', function() {

		beforeEach(function() {
			config.reset();
			var pathOfRcFile = path.join(process.cwd(), 'test/files/.reffixrc');
			config.set(null, pathOfRcFile);
		});
		afterEach(function() {
			config.reset();
		});

		it('Should add test mode', function() {
			config.setMode('test');
			var settings = config.get();
			expect(settings.referencingFileFilter).to.have.length(1);
			expect(settings.referencingFileFilter).to.contain('test.*');
			expect(settings.referencedFileFilter).to.have.length(1);
			expect(settings.referencedFileFilter).to.contain('test_test.*');
			expect(settings.workingDirectory).to.equal(process.cwd());
		});
		it('Should not change default settings', function() {
			config.setMode('default');
			var settings = config.get();
			expect(settings.referencingFileFilter).to.have.length(2);
			expect(settings.referencingFileFilter).to.contain('*.js');
			expect(settings.referencingFileFilter).to.contain('*.jsx');
			expect(settings.workingDirectory).to.equal(process.cwd());
		});

	})

});

redpajama_set_name: RedPajamaGithub


Even with the overwhelming success of my last GTA guide, I'd still gotten an enormous number of requests to make a similar guide that solo players could better take advantage of. If you play solo and can't afford that car you've had your eyes on or vital, game changing properties such as offices, bunkers, doomsday facilities, etc, you've come to the right place. This video will teach you how to go from absolutely broke to making millions in just five easy stages and without having to rely on anyone else. While this guide is aimed at players new to the game, if you're somewhat experienced already, but just aren't happy with your progress so far, you'll probably learn some useful information that will set you in the right direction to becoming rich and powerful.


text:
Barley Australia accreditation aims to weed out malt-quality barley
A new barley malting accreditation process has come into effect, with the aim of ensuring brewers get top quality varieties which are specifically suited to malting.
The process intends to maintain the consistency of quality of Australian barley and ensure that crops hitting the market are fit for purpose – to the benefit of both the brewing and farming industries.
Dr Megan Sheehy, the executive chair of Barley Australia, said the improvements to the two-step process came about as a result of an in-depth review intended to help breeders, farmers and customers.
"We can't just sit still and not try to improve processes and look at how we do things," she said.
The updated accreditation process involves bringing in Pilot Malting Australia, which is housed at the Edith Cowan University in WA.
Bringing PMA in means that the first stage of the process no longer requires commercial quantities of grain, as PMA simulates large-scale commercial malting but using smaller batches – 100 kilograms rather than 200 tonnes. Previously the larger quantity was required for both testing stages.
"This means that breeders will not need to go straight to commercial quantities of grain but can scale up [in a controlled way]," Sheehy explained.
"It's definitely an improvement, in that there's more flexibility for breeders and breeding programmes."
In both stages, pilot brewing is carried out as part of the assessment using small batch brewing facilities at Carlton and United Breweries.
"We do this robust assessment to ensure it can malt to a suitable standard. We don't make any assessment on its commercial viability or agronomics, all we're saying is that it can make malt and make beer," she explained.
The new post-accreditation phase will also see data from the pilot malting testing stages available to the industry, which feeds into post-accreditation marketing support.
"We're not planning to endorse any particular varieties, but build upon varietal profiles which will be made available to industry for marketing and research purposes," Sheehy said.
"We take quality seriously, [and the malt quality data] is another point we can use as a marketing tool."
Barley in Australia
Sheehy said that around 70 per cent of Australian-produced barley was used for feed, whilst 30 per cent goes to maltsters to be then used in the brewing industry.
Approximately 70 per cent of the barley grown in Australia sent for export, she said.
"We're renowned around the world for the quality of our barley. We're viewed as having very good quality barley for malting specifically.
"Some of the challenges we face are that many brewers might get frustrated that barely varieties change too quickly. But we're past the days of having one or two barley varieties – it's no longer 'one-size-fits-all'."
From a farming perspective, this varietal diversification is beneficial to an industry which constantly needs to adapt to changing climate and demands.
"Things have moved on with breeding programmes as growers become more savvy with their farming practices. Varieties need to have good disease resistance and agronomics, and of course need to yield well, as there are many other crops that growers could grow instead.
"It's about finding that balance – you've got to stay relevant and keep up with international competitors who are all investing in new varieties, but at the same time you don't want to be constantly flooding the market with new choices," Sheehy explained.
Find out more about the accreditation process with Barley Australia.
Category: News Tagged: barley, Barley Australia


Good management. Near city centre. Clean accommodation facilities. Spacious rooms.
The Cà dell'Orto apartment complex offers accommodation in stylish apartments beautifully located along the banks of the Adige river, in very close proximity to Verona's historic centre , around 2 km from the Arena and only 100 metres from the nearest bus stop. A meticulous restoration, personally directed by the owners, has created splendidly positioned lodgings which combine the serenity of a peaceful countryside setting with easy access to all that the city has to offer. On-site amenities include a spacious and well-kept garden and a lovely outdoor swimming pool.
Close to city centre. Nearby bus stop. Food shop nearby.
Excellent accommodation. Close to the city center with easily acessible parking. Great pool. Great room.
Gorgeous swimming pool. Superb pool. Lovely pool area.
Tranquil gardens. Gorgeous garden. Big terrace.
Excellent hosts. Superb staff. Friendly owners.
Fantastic buffet breakfast. Delicious breakfasts. Breakfast lovely.
Loads of pillows. Well equipped accommodation. Amazing apartment.


yet nobody wants to stay behind.
but the wind continues, anyway.
how everything, yet nothing, seems to change.
Someone mentioned how living is dying.
We started to believe the morning wouldn't end.
Domenic Scopa is a four-time Pushcart Prize nominee and the 2014 recipient of the Robert K. Johnson Poetry Prize and Garvin Tate Merit Scholarship. He holds an MFA from Vermont College of Fine Arts. His poetry and translations have been featured in The Adirondack Review, Reed Magazine, Borderlands: Texas Poetry Review, Reunion: The Dallas Review, Superstition Review, and many others. He is currently a Lecturer at Plymouth State University and a Writing Center Specialist at New Hampshire Technical Institute. His first collection of poems, The Apathy of Clouds (FutureCycle Press), is forthcoming in 2018. He currently reads manuscripts for Hunger Mountain and is an Associate Editor at Ink Brush Publications.
Photographer's Note: This photo represents both the paradoxical viewpoints found in this poem as well as the visual imagery of a thought-provoking, mysterious ocean. For instance, when we have expectations of a sunny morning and we see those clouds, at first thought, they tend to dampen the moment. But for this photographer anyway, a paradox exists as partial cloud cover makes a sunrise brighter and more beautiful. When life seems to be turned upside down and uncertain, we are reminded that the one constant is change. Conversely, we also know that through any change there is one constant. Without fail, each and every day the sun will rise, and the sun will set…no matter what. For that reason, this photo was chosen to represent, among other things, that the "future…is predictable".