text:
Who I Was and How I Came To Be
by Will Brooker
I used to keep a diary. A diary is a map of your old life.
I used to live in Cardiff. On Connaught Road. Can you see it, on the map? Strung onto that constellation of resonant names: sapphire, topaz, silver, planet, emerald, star. Like a science fiction universe: a map of manyworlds, of infinite earths. A roll-call of superheroes.
Wait, Connaught Road isn't on that map – that photocopied and enlarged A-Z from fifteen years back. Wait while I…
Wait. Here it is. Sometimes the past slips and skids away.
Here it is. Here's the street where I lived. Flat 8, 97, Connaught Road.
But that was 1998, and this story begins in 96. Let's start again.
I used to keep a diary. I've kept many diaries (though some are lost).
I've kept many diaries.
This is the one I should have started with.
This is the one. This is the place where it began.
Cathays Terrace is a scruffy, scrubby long road, five minutes from Cardiff University. You could tell how long people had lived there by whether they could pronounce the name of the next street, Crwys.
Cathays itself is one of Cardiff's student zones. It has a tiny railway station, the size of a tilt-shift miniature, where trains stop outside the undergraduate club, The Terminal.
I'd come up from London in 96. I'd grown up in London. Cathays – and the surround of Cardiff itself – seemed a small world, to me. It suited me perfectly. I felt I could master its map.
That was arrogant. But, you know. I was twenty-six. When else can you be arrogant?
Now we begin. (And it's my story, so I get captions and a narration, obviously.)
Wait. I was still blond at this point. My hair was yellow like a block of vanilla ice cream.
It doesn't look like much. They film Doctor Who around here now, and pretend it's London, but it doesn't look like London; not even the scruffy parts of London I was from. The houses – even the windows and doors – are smaller. The sky hangs lower, always threatening rain.
The picture above doesn't actually show my road, Cathays Terrace. I had to manoeuvre Google Street View around the corner and swivel its virtual camera back, to find my own origin point. That window in a white wall. That's where I stayed.
It was a tiny room – a tiny room divided in two with a thin partition. People joked that it was my Batcave, but I used to call it my cell. There was a shower in a cupboard and I shaved at the kitchen sink, using a plastic mirror propped against the taps.
There was no internet – no personal internet, no going online at home. But the university had 24-hour computer rooms with sluggish 484s, scattered around the city, and I knew where they all were. I added them to my map. I spent twelve hours there at a time, 5pm to 5am, and walked home at sunrise; I slept until 10.
Social networking then was done through notes, postcards, landlines. Somehow – because I was from London, because I was 26, because I was doing a PhD (because I was doing a PhD on Batman) I became the kind of social kingpin I'd fantasised about when I was a sixth former, watching 1980s party movies. Those diaries are a collage of phone numbers with lipstick prints.
What can I say. I'd spent my teenage years reading feminist science fiction, programming in BASIC and doing my homework. I'd spent most of my early 20s painstakingly plucking my eyebrows and being chatted up by businessmen in cross-dressing clubs, like someone from a Lou Reed song. Now Cardiff offered me the chance to be a kind of small-town Bruce Wayne. It was a fun role to play, at the time. It isn't an interesting story to tell.
What's more interesting is that I was only this poor-man's Bruce Wayne by day – and for the sociable part of the evening and night. Nightlife, in Cardiff at least, ends by about 3am. The day doesn't start – the cleaners don't wake up and leave for work – until a couple of hours later.
In that time – during that unsociable slice of night – you can be almost alone in the city. And in a small city, you can cover a lot of ground within two hours. You can get a lot done.
You can cover a lot of ground if you run. And I ran every night.
Of course, people asked me if I wanted to be Batman; if I had the costume, if I had the car. I denied it, because look at the Batman everyone knew, back then.
A strange thing happened, though: the day after I saw Clooney as Batman at the Cardiff Odeon, I went to another film called Metroland, at Chapter, the city's art cinema – on the outskirts of town, across a river bridge, hidden at the end of a park.
A strange thing sometimes happens, in diaries; especially diaries with thin pages.
One page sometimes bleeds through to another.
Today is the 'tomorrow' you look forward to.
Anyway. This wasn't my Batman, at the time.
Officially, I embraced the Batman of multiple, mosaic earths. My kitchen was plastered in postcards of Adam West. One metre along the wall, where it became my living room, there were framed images of the Animated Series Batman and Frank Miller's Dark Knight of 86. Another few steps across my cell, and the mantelpiece by the shower cubicle was decorated with a print of Tim Sale's Long Halloween Batman from the late 1990s.
But these weren't really the Batman I connected with; the Batman I aspired to be. You couldn't be those Batmen. They were too professional, too slick, too rich.
But you could be this Batman, from Brian Augustyn and Mike Mignola's Gotham by Gaslight. He wasn't a billionaire or a technocrat. He was just wearing a big coat with the collar turned up, heavy boots, and leather gloves.
I already had a big black coat, which I wore with the collar turned up. I bought black heavy boots and black leather gloves. That was easy: The Matrix had just come out, and Neo-style outfits and accessories were popping up in the indie shops next to Spillers Records, on Canal Street. You couldn't buy Batman t-shirts at the time, so I scanned a logo from the back of a comic and had it printed onto a tight grey top.
I still went out, as normal, as a civilian – to the Terminal, to the Rummer, to the Clwb Ifor Bach – then came home at 3am, got changed and went out again. I lived mainly on oranges and bread; baguettes from the Tesco bakery at opening time, shoved still-warm in my mouth as I walked home. I started sleeping until 2pm, waking myself with espresso the colour and thickness of tar.
In the afternoon, I trained. I stopped listening to indie pop and began lifting weights to a soundtrack of Tricky, Chemical Brothers and Prodigy.
After a while, I stopped going out – that is, I stopped going out socially. I just went out…antisocially.
When I say I went out: I mean, I went out of that window. That back window in the photograph. And across the garage roof below, along the wall, and down to the street.
I knew a lot of people and a lot of places. I had a lot of contacts, a lot of keys, a lot of door codes. I was twenty-six. It wasn't a large city. I could cross it in twenty minutes.
I didn't do anything wrong. I was being Batman. I was gathering information. That's what Batman does: he's a researcher.
I didn't do anything wrong. At least, I didn't think I was doing anything wrong.
Something happened, later, but it really wasn't my fault.
I stopped the training, the night-time patrols, but not because I'd done anything wrong. I stopped because I'd become too well-known. First in Cardiff, after I gave a lecture on the Dark Knight from 1939-99 – Y Marchog Tywyll was the headline (in Welsh) in Gair Rhydd, the student newspaper – and then beyond, as the media picked up on the story that someone was doing a doctorate in Batman.
I'd enjoyed being a local face, a familiar name on a small scene. Suddenly I was getting calls from the BBC and invitations back to London to appear on TV. For the first time in my life, companies were paying me to take cabs and stay in hotels.
I moved to a far larger flat on Connaught Road. I had a steady girlfriend now. I bought things like matching cups and plates. Fridge magnets. Bottle stoppers. Things like that. I finished my PhD. I applied for jobs.
I got a job. It wasn't as easy as that makes it sound, but I got a job. I moved back to London. I became an assistant professor. My thesis was published as a book. I became respectable, on the surface at least.
It was the twenty-first century now. People had internet at home. I joined discussion forums. I checked them with my first coffee of the day, before work. I wore a suit now.
Barbelith was a progressive, intelligent site named after a scarlet satellite – a cosmic stoplight – from Grant Morrison's comic book series The Invisibles. It was a supportive community, but tightly run and strictly policed. I posted on there for many years, first as myself and then, changing persona to give myself more freedom, under a female name. That name may have saved my career.
Barbelith was tightly run and strictly policed, but someone managed to sabotage it. His name circulated on the discussion boards like a curse, a word of power. His original handle was 'DisInformation', and people even became superstitious about invoking it: they referred instead to DisInfo, or The Formation.
I can't remember the details of his strategy: a back-door exploit that took advantage of the 'forgot your password' facility, and mailed the details of regular board members to his own multiple accounts. But the community lived in fear of this guy, who had discovered the real identities behind their codenames and contacted their employers.
Nobody was doing anything wrong exactly. But it was a board based on Grant Morrison's The Invisibles, and most everyone on there styled themselves as a member of Morrison's subversive superhero group, a real-life extension of the fiction. There was a lot of discussion about chaos magic, ritual drugs, sexual fetish, political protest. Not the kind of thing you talk about at work; not if you have the kind of job where you wear a suit.
Like me, most people on Barbelith were living a double life, a secret identity, a phantom existence behind the official day-to-day. Separate pages in a diary. But sometimes pages bleed through.
Most people on Barbelith were living a double life. Unlike me, most of them hadn't genderswapped.
Except, it turned out, for the guy causing so much trouble. He emailed the site manager, Tom Coates, under the name 'Andrea', and confessed the password exploit. Their correspondence was made public.
Barbelith had a private message function, a back-channel behind its public discussion forums. Messages flew back and forward between the moderators, the manager and the veterans, sharing and collating information on DisInformation; trying to claw back some power from this guy who seemed to know everything about them. They pieced together details about his identity, and frantically pasted it into a dossier. One private message bled through to the main boards, posted in the wrong place by mistake, and before it was deleted, I saw a name I recognised; starred out like a curse word ('A***** C****') and then repeated, uncensored.
I recognised it, and the boundary between two worlds, the real and the virtual, suddenly collapsed. The barriers I'd imagined between Barbelith and my professional life, I realised, had never truly existed. I recognised the name from one of my class registers. The guy under the name DisInformation was a first year student called Andrew. I taught him.
I went through all my posts that morning, erasing and revising any giveaway clues – I'd even written about a specific class, on John Ford, that Andrew had taken part in. Barbelith was a large discussion board, and I hoped he hadn't read every detail. I emailed the moderators, the manager and the veterans, telling them I knew who this Andrew was; I knew his email, I knew what he looked like, I knew, roughly, where he lived. They invited me to their private discussion room and took my evidence very seriously. It was exciting, like being a boy witness surrounded by grave but kindly policemen. They thanked me for letting them know, and said they would act on it.
Then I went to work, and taught Andrew as usual, except of course nothing was usual and nothing was the same. Whenever he spoke, I studied his face, wondering what he knew about me; wondering if he knew I knew.
At the end of class, he approached me at my desk, and I prepared myself. But he just gave me a video cassette – this was 2000, or 'the year 2000' as we said at the time – and awkwardly told me he thought I'd find it interesting. I imagine we both blushed. Fortunately, he left the room.
In fact, I later realised, he left the university that day.
I watched the video at home. I couldn't screengrab it, of course. It was a video, on a television. But I took a photograph of it, on freezeframe, then had it developed and stuck it in my diary.
He was in a forest, dressed like Neo from The Matrix. There was a lot of rhetoric about conspiracies, government cover-ups and what humanity would need to do to survive in the 21st century; the kind of thing he wrote on Barbelith. After ten minutes, I fast-forwarded it to the end. Nothing but static and snowstorm.
Andrew dropped out from college, and DisInformation was finally banned from the boards. I never heard from him again, though I searched for his name a few months later (I would have said I googled it, but it probably wasn't Google, at the time) and found a blog of travel photos, showing him in various locations around the world.
My credibility was boosted on Barbelith and I became regarded as one of the big players, the iconic characters, until the boards declined and collapsed, overrun with spam and deserted by the regulars. You can check it out now at www.Barbelith.com and see what I mean. My old posts are still there. In the real world, I got promoted and continued to climb.
I wish I could give you a better story. I don't know how much Andrew knew of me; whether he'd witnessed my branding as 'Dr Batman' and decided to make himself into a kind of online supervillain, a worthy enemy. He was Welsh, and he could have been in Cardiff at the same time as me; he would have read the local newspaper stories, even seen my lectures. Perhaps the whole online performance was for my benefit. Perhaps that's vanity, and the crossing of our paths, online and in real life, was just coincidence.
I'd like to give you a better story, a better ending. But this is a true story, and true stories never end.
Will Brooker is editor of Cinema Journal and author of several books including Batman Unmasked (2000) and Hunting the Dark Knight (2012)
This was a kinetic and fascinating read!
posted March 26, 2014 at 11:43 am by ProFro Reply
Will, I love this story, especially the images and ephemera you've included. It's wonderful to see pieces of your life from a time before I knew you. It's your…origin story.
sorry, had to be done.
posted March 26, 2014 at 9:11 pm by Amanda Ann Klein Reply
Pingback: Happy Birthday to Us! | Tell Us a Story
Adam West, Barbelith, Batman, Chemical Brothers, Disinformation, Frank Miller, Gotham by Gaslight, Grant Morrison, Prodigy, The Dark Knight, The Matrix, Tim Sale, Tricky
Tell Us a Story Kicks Off National Poetry Month, Non-fiction Style!


text:
Glos altare eller Glose altare eller Åby gånggrift, är en gånggrift i Tossene socken i Bohuslän. Den är uppförd någon gång under yngre stenålder av människor tillhörande trattbägarkulturen. Den är belägen på en hög, 11 meter i diameter, som numera är något skadad; gånggriften har troligen tidigare varit täckt av högen. Vid den tiden då gånggriften byggdes stod havet cirka 20 meter över dagens nivå och gånggriften låg på ett utskjutande näs i det som senare skulle bli Åbyfjorden. Inga arkeologiska undersökningar har gjorts av graven, men på 1860-talet hittades ett hänge av skiffer, keramik och flinta.

Namnet
Namnet "Glos Altare" eller "Glose Altare" har okänt ursprung. Troligast är att ordet "glose" härrör från södra Bohuslän och är en beteckning på något gammalmodigt, det vill säga "gammalt altare". Det kan då vara så, att man i folktro, trott att gånggriften varit ett altare som använts i forna ritualer.

Nycanderska gravplatsen
Tätt intill gånggriften finns en gravplats för den nycanderska släkten; här ligger löjtnant vid Bohusläns regemente Axel Nycander och hans hustru, Augusta Kilman, samt deras son, "Bohusskalden" Fredrik Nycander. Gravplatsen är inte belägen intill gånggriften av en slump utan uppfördes här under nationalromantisk tid då allt fornnordiskt var av stort intresse, även om graven är mycket tidigare uppförd än vikingatid.

Källor
 Åby gånggrift
 Gånggriften 'Glose Altare'

Fornminnen i Bohuslän
Megalitgravar i Sverige

redpajama_set_name: RedPajamaWikipedia


We all saw the Ultra book trend coming, the MacBook Air saw to that, it had an 18 months lead and every hardware manufacturer was playing catch up. However, the all in ones have been around much longer and in the PC world it never really gained much popularity. However, I have recently seen all the major players begin to put out there own version. If I had my choice today it would be the HP Z1, with its 27" (diagonal) display that snaps open to let you swap out parts, no tools required.
I would also consider the newly announced Samsung series 5 and 7, first announced at Computex in June. The best looking, in my humble opinion, is the Vizio that I wrote about a few weeks ago. There is also another relative new comer in the person of MainGear PC 21, which also comes with the peace of mind of relatively straightforward hardware upgrade options.
I must admit to being stumped, I have a finite amount of money for these kinds of purchases and I am already committing to getting at least one more iOS device. I am just not sure whether to get a desktop PC or an iMac.


With Passpack, you can edit, share or delete your passwords entries either one at a time, or in batches. You can access the bulk editing features in your Passwords tab and clicking on the link Bulk editing your entries located just underneath it.
To perform actions on multiple entries, you must first select them. To locate the entries you'd like to select, you may use all of the usual navigation tools. Once you have located an entry, tick the checkbox to the left of the entry name.
Can I Bulk Import Passwords as Well?
Yes, but you should use the import feature for that. Instructions here.
To access the bulk editing options, select the password entries you would like to edit from the password list.
Once you have selected the entries, the bulk edit options will appear in the list tools.
The first icon is Bulk Delete. This will remove the selected passwords.
The second icon will open the label dialog for the selected passwords.
The third option is the add/remove the selected passwords from teams.
Selecting the fourth icon will open the URLS associated with the selected passwords.


Throughout our website, you will find an abundance of information about our practice, procedures we provide, and dentistry in general. Our patients are our most important asset, and we strive to develop long-lasting, trusting relationships with all of our patients. We look forward to seeing you!


Poetry as a meditative act of care stands outside of calculative thinking. Pablo Neruda, Johann Wolfgang von Goethe, and Kathleen Raine provide examples of this way of thinking and of seeing. I shall contrast these examples with those of AI compositions.
One may easily listen to this as a standalone episode. Still, it continues and develops many themes explored in Poetic Vision & The Present Time (Episode 020) and Poetry & Nature: Life Feels Itself (Episode 021).
We begin with Neruda and his call for quiet. In the meditative process there is an activity of the interior sort, in which one builds, cultivates, discovers inner dimensions. I call this the poetic vision. The way that the poet approaches the world, and life within it, comes from this inner dimension. The poetic vision resists giving precedence to the single-mindedness of calculative thought. It calls us to silence, to contemplation. Neruda's "Keeping Quiet" is a wonderful example of this. This poetic contemplation awakes our sense of care.
Here I discuss some of the recent developments in artificial intelligence (AI). First, the use of AI to compose Christmas carols shows a disconnect between the calculative and contemplative realms of thinking. The presumption in media coverage of these stories is that AI will eventually overtake humanity in this sphere of writing carols. This seems preposterous unless we are engaging the world from a flattened perspective in which techne simply speaks to the technical, and not the truly poetic, aspect of our being and engagement.
I then address the recent attempts to teach AI not to kill human beings, but to value our lives, by way of data sets of human stories and algorithm. There is no essential relationship between calculative thinking and care.
First, Goethe's comments from 1828 on Tobler's letter help round out the poetic vision of nature discussed previously. Viewing the matter in nature as having both material and spiritual characteristics makes a difference in the way that one sees. One must be able to see unity in multiplicity, without then becoming stuck in an abstract holism.
We then find Kathleen Raine's comments on the use of poetry are quite helpful here. Using Raine's remarks to build upon Goethe's, the danger posed to the human image by a view of nature as being lifeless comes into view. Raine's call for poetry as a meditative act to awaken love, care, and life, is akin to the 'saving power' cited by Hölderlin. Finally, we directly contrast poetry as a meditative act with a calculative composition by AI.


text:
PayNow is a near-instant real-time payment system developed by Association of Banks in Singapore. The interface facilitates inter-bank peer-to-peer and person-to-merchant transactions.  The system is supported by all major Singaporean banks and is regulated by the Monetary Authority of Singapore (MAS) and works by transferring funds between two bank accounts.

Payments can be made to any registered Singaporean mobile number, NRIC, corporate Unique Entity Number (UEN) or Virtual Payment Address (VPA).  Scanning QR codes is also an option.  PayNow is linked with other payment providers including Stripe, DuitNow (Malaysia), PromptPay (Thailand) and UPI (India).

In 2020, 125 million transactions worth S$22 billion were processed through PayNow.

References

2017 establishments in Singapore
Payment interchange standards
Interbank networks
Banking in Singapore
Mobile payments
Mobile payments in Singapore


Debut full-length album by the Polish Dark Doom Metal band.
The album contains full spectrum of different Metal sounds; it's unique hybrid between many different Metal genres. This is band's trademark, which makes their songs unmistakable. It's very hard to define their style with one word. But still there are some things that connect them all - atmosphere, melody, space, darkness and heaviness. With a little touch of dark magic, their songs receive a very unique under-sound and message.
Interesting, strong guitar riffs, cosmic and "spatial" solos, mighty rhythmic section, and above all an amazing vocal. Vocal, which is not afraid of any challenges and perfectly fills this gloomy and atmospheric album, with dark incantations.
The lyrics are telling a story about many important for band themes, like: hate, melancholy, life and, more than anything, death.
Aggressive yet melodic stuff for all Metalheads who are searching for something unconventional. It's highly recommended for Doom, Death or even Black Metal fanatics, especially for all those, who are looking for unknown spaces and new experiences!
Musthave for fans of: Moonspell, old Tristania, Type O Negative, old Samael, and fans of early 90's Melodic Swedish Death Metal!!
Metal Scrap Records, 2014 (MSR072/CD). Made in Ukraine. First press.


text:
from pact_test import PactHelper

pact_helper = PactHelper()

def test_default_url():
    assert pact_helper.test_url == 'localhost'

def test_default_port():
    assert pact_helper.test_port == 9999

redpajama_set_name: RedPajamaGithub


text:
Q: can a particular rect of UIview have different alpha..? I wan't a imageview which is semi-transparent in other parts and completely transparent in the middle .. see this image..

i have managed to do it but it is not the best of ways.. can I only have a rect inside yellow lines transparent ...?
EDIT: Is it possible to change the alpha of a certain rect of a view..?

A: Place a custom UIView over the view showing the image, size and position it to exactly overlap.
In the custom view's drawRect method
- (void)drawRect:(CGRect)rect
{
    // Drawing code
    CGRect rBounds = self.bounds;

    CGContextRef context = UIGraphicsGetCurrentContext();

    // Fill background with 80% white
    CGContextSetFillColorWithColor(context, [[[UIColor whiteColor] colorWithAlphaComponent:0.8] CGColor]);
    CGContextFillRect(context, rBounds);

    // Draw the window 'frame'
    CGContextSetStrokeColorWithColor(context, [[UIColor orangeColor] CGColor]);
    CGContextSetLineWidth(context, 10);
    CGContextStrokeRect(context, self.maskRect);

    // make the window transparent
    CGContextSetBlendMode(context, kCGBlendModeClear);
    CGContextFillRect(context, self.maskRect);
}

where maskRect is the rectangle to be shown transparent.
Do ensure that the background color of the custom view is set to 'clearColor'
You can write any additional logic required to change the maskRect and call 'setNeedsDisplay' on this view.

A: After lots of effort, I have found the solution.
Here is the code for it!!
-(void)touchesBegan:(NSSet *)touches withEvent:(UIEvent *)event
{

    [screenShotButton setHidden:YES];
    UITouch *touch = [touches anyObject];
    CGPoint pnt =[touch locationInView:self.view];
    CGRect viewFrame=changeView.frame;
    CGFloat x1Diff,y1Diff,x2Diff,y2Diff;
    x1Diff=ABS(viewFrame.origin.x-pnt.x);
    y1Diff=ABS(viewFrame.origin.y-pnt.y);
    x2Diff=ABS(viewFrame.origin.x+viewFrame.size.width-pnt.x);
    y2Diff=ABS(viewFrame.origin.y+viewFrame.size.height-pnt.y);
    if (x1Diff<=10) {
        left=YES;
        shouldExpand=YES;
    }
    if (y1Diff<10) {
        top=YES;
        shouldExpand=YES;
    }
    if (x2Diff<=10) {
        right=YES;
        shouldExpand=YES;
    }
    if (y2Diff<=10) {
        bottom=YES;
        shouldExpand=YES;
    }

    if(CGRectContainsPoint(changeView.frame, pnt))
    {
        shouldChange=YES;
        fromPoint=pnt;
    }
    else
    {
        shouldChange=NO;
    }

}
-(void)touchesMoved:(NSSet *)touches withEvent:(UIEvent *)event
{

    if (!shouldChange) {
        return;
    }

    if (shouldExpand)
    {
        UITouch *touch = [touches anyObject];
        CGPoint pnt =[touch locationInView:self.view];
        CGRect preFram =changeView.frame;
        CGRect modifiedFrame=preFram;
        if (left) {
            modifiedFrame.origin.x=preFram.origin.x-(fromPoint.x-pnt.x);
            modifiedFrame.size.width=preFram.size.width+fromPoint.x-pnt.x;
            fromPoint.x=pnt.x;
        }
        if (right) {
            modifiedFrame.size.width=preFram.size.width+pnt.x-fromPoint.x;
            fromPoint.x=pnt.x;

        }
        if (top) {
            modifiedFrame.origin.y=preFram.origin.y-(fromPoint.y-pnt.y);
            modifiedFrame.size.height=preFram.size.height+fromPoint.y-pnt.y;
            fromPoint.y=pnt.y;
        }
        if (bottom) {
            modifiedFrame.size.height=preFram.size.height+pnt.y-fromPoint.y;
            fromPoint.y=pnt.y;
        }
        changeView.frame=modifiedFrame;
        [clearImage setBounds:CGRectMake(0-modifiedFrame.origin.x, 0-modifiedFrame.origin.y, clearImage.frame.size.width, clearImage.frame.size.height)];

    }
    else
    {
        UITouch *touch = [touches anyObject];
        CGPoint pnt =[touch locationInView:self.view];
        changeView.center=CGPointMake(changeView.center.x-fromPoint.x+pnt.x, changeView.center.y-fromPoint.y+pnt.y);
        [clearImage setBounds:CGRectMake(0-changeView.frame.origin.x, 0-changeView.frame.origin.y, clearImage.frame.size.width, clearImage.frame.size.height)];
        fromPoint=pnt;
    }

}
-(void)touchesEnded:(NSSet *)touches withEvent:(UIEvent *)event
{
    [screenShotButton setHidden:NO];
    left=top=right=bottom=NO;
    shouldExpand=NO;
    fromPoint=CGPointZero;
    toPoint=CGPointZero;
    shouldChange=NO;
}

- (IBAction)takeScreenShot:(id)sender
{
    [screenShotButton setHidden:YES];
    UIGraphicsBeginImageContext(self.view.frame.size);
    CGContextRef context = UIGraphicsGetCurrentContext();
    CGContextScaleCTM(context, 1.0, 1.0);
    [self.view.layer renderInContext:context];
    UIImage *img = UIGraphicsGetImageFromCurrentImageContext();
    UIGraphicsEndImageContext();

    NSString *docPath = [NSSearchPathForDirectoriesInDomains(NSDocumentDirectory, NSUserDomainMask, YES) objectAtIndex:0];
    NSString *filePath = [NSString stringWithFormat:@"%@/1.png",docPath];
    CGRect cutRect = changeView.frame;
    CGImageRef imgRef = CGImageCreateWithImageInRect([img CGImage], cutRect);
    CFURLRef url = (__bridge CFURLRef)[NSURL fileURLWithPath:filePath];
    CGImageDestinationRef destination = CGImageDestinationCreateWithURL(url, kUTTypePNG, 1, NULL);
    CGImageDestinationAddImage(destination, imgRef, nil);
    CFRelease(imgRef);

    if (!CGImageDestinationFinalize(destination)) {
        NSLog(@"Failed to write image to %@", filePath);
    }
    img=nil;
    imgRef=nil;
    CFRelease(destination);
    [screenShotButton setHidden:NO];
    [changeView setHidden:NO];
}

Just, logic mattered here!!

A: Why dont you do it like this only:

*

*Create a imageview set its alpha to make it semitransparent

*Then just crop the part of the image that you want to be fully transparent and create a new imageview with alpha = 1 and set that cropped image in it only above the semi-transparent imageview :)

A:
I think you maybe be able to change the outside of selected rectangle. As for below image, you should 4 alphas of 4 rectangles. For example, at first you set white windows background color,  then the 4 alpas of rectangles set to 0.5.
I think you would'd better use CALayer instead of UIView.
I wish my advice help your alittle.

A: I think u can use CGContext
void CGContextDrawRadialGradient(
  CGContextRef context,
  CGGradientRef gradient,
  CGPoint startCenter,
  CGFloat startRadius,
  CGPoint endCenter,
  CGFloat endRadius,
  CGGradientDrawingOptions options
);

see link below CGContext reference
or CGGradient reference

A: A simple method
   1:Create a image in photoshop with the alpha values which you have specified.
   2:Place the new imageview  over your image .
   3:If you want to move the transparent box ,change the image frame.
   4:If you want to expand you just change the size of upper image.

redpajama_set_name: RedPajamaStackExchange


Last Tuesday, Feb. 5, the Student Government Association (SGA) held elections for the junior class. There were four senate seats open to juniors who sought a position in Trinity's SGA. Larisa Bogomolov, Erick Peña, Hunter Savery, and Federica Cristofanilli were elected to the vacant class senator positions. Special elections held for class senate positions have not been held in recent history and SGA has not found itself in a position like this for many years.
The newly elected senators reported a wide variety of plans they wanted to put into action as a part of the SGA. Many of these focused on being accessible to students as a leader and listening to student voices, as well as creating a more inclusive environment. Newly elected senator Cristofanilli stated, "I want to get to know all the representatives and understand what SGA has worked on, what they are currently working on, and their future plans. I feel as if once I get this understanding of where the group stands as a whole, then I can start to see where our goals and plans for SGA overlap. My plan is to help push our campus to be an active, inclusive, and diverse environment that genuinely cares about the academic, social, environmental well-being of our campus." The new junior senators also reported that they intend to accomplish their stated goals by working with fellow representatives on the SGA as well as listening and responding to feedback from the Trinity community. Beyond accomplishing their goals, the new Senators reported that they felt it would be easy to work with the other class senators as they all shared the common goal of representing the class and creating positive change. Cristofanilli stated, "We are a batch of new faces so I think we will all be able to contribute strongly in our own ways to SGA. I'm excited to see what we will all be able to accomplish individually and as a whole this semester." Despite starting halfway through the year, the new junior senators are coming into their positions with goals in mind and ways to accomplish them in the immediete future.


text:
Redfern Updates
Hartney
Virden
USDA's July WASDE sparks run for exits
Jul 13, 2018 | Farmlead Market Update
On Thursday, July 12, 2018, the USDA released its monthly WASDE report. This report stood out mainly because it gave a pretty healthy indication just how the implementation of a trade war are influencing flows of commodities around the world. While grain prices reacted a bit neutral to the report, the liquidation of grain futures boards continued into the middle of July. With more geopolitcal risk on the table than maybe ever before, many participants are heading for the exits.
For soybeans, the July WASDE report showed the market that American farmers will produce 4.31 billion bushels of soybeans in 2018. This figure is 30 million bushels higher than what the USDA reported in June 2018. Compared to the five-year average of 3.98 billion bushels, 2018/19 American soybean production is 8.2% higher.
The big surprise for American soybeans though was in the ending stocks number. Average trade expectations before the report were 471 million bushels still left in the pipeline as of the end of 2018/19. However, the USDA said there'll be 580 million bushels available. This is up 51% from the June report and 25% more than where the 2017/18 carryout ended up!
The main thing that stood out for beans though was a big jump in global ending stocks, which is really because of the sharp drop in US exports. From a global carryout perspective, 2017/18 soybean stocks are pegged at 96 MMT. That figure is about 3.5 MMT above the average projection ahead of the report. The agency says that 2018/19 global ending stocks will come in at 98.27 MMT. This is significantly higher than the 88.15 MMT estimate among trade analysts ahead of the report and the 87 MMT seen in the last report. This is because US soybean exports were lowered by nearly 8 MMT to 55.5 MMT.
For canola/rapeseed, US production was increased, but globally, production was felled by 2.63 million tonnes in this July WASDE report from last month's. The decline of world rapeseed production was mostly attributed to production cuts in EU (down 9% year-over-year), Canada (down 2% year-over-year), and China (down 1.4% year-over-year). Comparably, India's 2018/19 rapeseed production is expected to increase by 11% year-over-year.
The other notable change in the July WASDE as it relates to Manitoba farmers is the jump in American spring wheat production. According to the USDA, American farmers will produce 584 million bushels of hard red spring wheat in 2018. This figure is about 52% higher than production in last year's drought-riddled crop year (385 million bushels). Total production of all colours of spring wheat is pegged at 614 million bushels, a 48% jump from the previous year. Thus, compared to the five-year average of 498 million bushels, 2018/19 American spring wheat production is 23.2% higher.
Overall, the market continues to try to figure out where the new price equilibrium should land. Usually, this is just a function of supply and demand, with some currency risk mixed in. However, when governments start to intervene in the markets, the result is usually very negative. When this is the case, trying to understand where the market is headed becomes more difficult. And when that happens, people exit the markets because they're more likely to lose than win. And when people sell out of their positions, the market drops. Overall, there are definitely some changing trade winds, which the USDA accounted for a bit in this report, but the question I'm asking now is might we see even more changes in the next WASDE report, out on Friday, August 10.
To growth,
Brennan Turner is the President & CEO of FarmLead.com, North America's Grain Marketplace. He holds a degree in economics from Yale University and spent time on Wall Street in commodity trade and analysis before starting FarmLead. In 2017, Turner was named to Fast Company's List of Most Creative People in Business. He is originally from Foam Lake, Sask. where his family started farming land nearly 100 years ago (and still do to this day).
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Growing Roots in Rural Manitoba Since 1972.

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Having a day off in Erzurum turned out to be a good idea, it rained on and off for most of the day including some thunder, not exactly nice weather for riding. I had a little wander around the town between the showers and found a little food. It's an odd town, feels like it's just scraping by for the most part, but a couple of areas have had a lot of money thrown at them. I liked it though, still not sure why, just had a nice vibe to it and everyone I met was super friendly.
I'd decided to spend a few more days in Turkey rather than rushing on to Georgia so I was heading South to Van instead of North East on Day 47. I wanted to get back to doing longer riding days again, spending most of my time riding. Some times it's nice to start late and finish early, the ride can be hard then you can break early, but in Turkey that hadn't been working as well as it had in Europe.
There's been a bit of change as I've gone along that I hadn't noticed quick enough. In western Europe a lot of the fun was in the long rides, seeing lots of different towns and scenery in one ride. The towns were all fairly similar to the point of forgetting which was which, the roads were really good which made riding long distances easy. 8 hours of back roads between towns was amazing. Around Slovenia and beyond though it switched, now the towns were the fun bit, the riding in-between not as much, bad roads, bad drivers and hot weather. Not that it was terrible, but now I prioritised shorter days with more stops, Dubrovnik, Durres & Skopje for example, all quite short riding days to get to nice towns.
It switched again in Turkey but it took me too long to notice, I was riding between towns and not really enjoying the towns all that much, the riding was really fun though, despite the bad roads and drivers, the scenery was amazing. So I decided to switch back to some long days riding for a while to try it out. A long day down to Van proved it was good idea. Coming out of Erzurum back on to the wide plains, then into some rolling hills on a nice fast road. Around 9 hours on the road without many breaks and I was knackered but happy. It was pretty surreal making it down to Van. It's a town that I looked at a lot when my plan was to go through Iran, wondering if it would be too cold in November when I would have arrived. Yes, it would have been freezing, so glad I changed plans in the end. I saw a sign for Iran on the road today, that was pretty weird, knowing I'm that close to something that feels so far away. I'm gutted I don't get to go through, but visas and political crap got in the way. On the other hand it means I get to go through Kazakhstan, Kyrgyzstan & China so it might have worked out better.
I rolled through Van and grabbed some supplies and went out to find a wild camp by the lake. Great success. I got the tent up first this time, prepared for the insect attack after sunset, but it never came. Just a lovely evening cooking dinner, watching the sunset and reading. I did spend a while thinking there was a stray dog sniffing around my tent only to find out it was weeds rubbing against the tent near my head. I knocked myself out with a couple of ibuprofen to get rid of a headache and had a great nights sleep.
I woke up the next morning surrounded by sheep at about 6am, the shepherd came over and had a good long look at the bike and the tent before giving me a thumbs up. I set off back the way I came on the farm tracks and back to the main road. I stop for fuel quite often, after 60 or 70 miles and my tank has about a 200 mile range, I was just thinking to myself "I could probably go further and stop less often", but when I pulled in to a station they were out of petrol. Ah, yep, that's why I stop often, I remember now. I easily had another 100 miles in the tank so I wouldn't get stuck anywhere. Luckily proved that to myself before I started do 150 miles between stops and risking it.
Passed through quite a few checkpoints today, and there's a lot of military on the roads. It's understandable given how far south I am, not too far from the Syrian border. They've all been fine and the soldiers in them friendly, but it doesn't stop you being worried every time. I try my best not to look dodgy, which makes me look super dodgy. The road is usually blocked off and you get filtered down the side between concrete blocks, tanks on either side of the road with a handful of soldiers scattered around with fingers on triggers watching everyone roll through. Then a guy asks for your passport or driving license or just waves you on, depending how they're feeling.
I spent most of the day riding along in a trance listening to an audio book. The roads were great, winding through hills all day, with easy stops in towns for fuel and food. It feels a little like wasting a day sometimes not to see much but some days it's really nice to just ride and enjoy it. There was no huge challenges, no amazing places to see so I just kept riding. Some of it needed more attention though, red lights are now optional, particularly when they're on the 70mph highway, trucks just plow through them a lot of the time, not wanted to slow down at all. I have to follow the locals and do the same for fear of being rear ended, I'd rather be predictable than follow the letter of the law. Roundabouts have also become chaotic messes where people just make there way anyway they can across them, and people stopping on them to give way, causing a grid lock. People riding the wrong way down a dual carriageway is also common now, not wanting to waste the 2 minutes to go the right way and do a U turn, seeing headlights coming towards you where they shouldn't be will wake you up quick.
I made it to Kars in one piece and headed for the city centre to find a hotel, I waited out a storm in one hotel lobby then managed to find a cheap and cheerful place for the night. It was already pretty late by the time I got set up so it was a quick walk out for food and around town then off to bed.


text:
Tête-à-Tête With Tony D'Souza
Tony D'Souza first caught my attention with his second book "The Konkans." Known as the "Jews of India," the Konkans kneeled before the Portuguese explorer Vasco da Gama's sword and before Saint Francis Xavier's cross, abandoned their Hindu traditions, and became Catholics. Born to a Mangalorean Father, D'souza's insight into Konkan heritage and traditions were obvious in this book. In 1973 the protagonist Francisco D'Sai's Konkan father, Lawrence, and American mother, Denise, move to Chicago, where Francisco is born. His father, who does his best to assimilate into American culture, drinks a lot and speaks little. But his mother, who served in the Peace Corps in India, and his uncle Sam (aka Samuel Erasmus D'Sai) are passionate raconteurs who do their best to preserve the family's Konkan heritage. Friends, allies, and eventually lovers, Sam and Denise feed Francisco's imagination with startling visions of India and Konkan history.
Tony's first novel, Whiteman, received the Sue Kaufman Prize from the American Academy of Arts and Letters. His second novel, The Konkans, was called a 'best novel of the year' by the Washington Post, Christian Science Monitor, and Poets & Writers Magazine. His third novel, Mule, releases in September, 2011. Mule is a fascinating read and a very appropriate subject given the current economic downturn. This contemporary piece of fiction, written in a very colloquial style, reiterates how we as humans tend to find comfort in our routine repetitive actions, or what becomes a forced routine in our lives. This book trailer of Mule is a great teaser and can be viewed here.
Suprose is honored to present this Tête-à-Tête With Tony D'Souza.
1. What is it about writing fiction that makes you want to do more of it?
I have always begun every story or novel I have written by staring at a blank page. In my head is a long list of ideas based on things I've observed in my life that have moved me or struck me as odd. When I was 18, for example, I left Chicago and went to Alaska where I spent the summer riding a bicycle along the highways, camping, and meeting people. I met a beautiful girl up there in a very remote place and we carried on a brief relationship that eventually found us living in a motel room in Bloomington, Indiana. This was almost twenty years ago. It was snowy winter in Indiana and she worked at the JC Penney in the mall, at the perfume counter. I would wait in my cold car late at night with the snow falling down for her to get off work. When she'd finally come out, she always filled the car with the scent of perfume.
So I start with that, some image or memory, in some ways trying to record my life. But always changing things to let the characters have their own vitality. In this way, I learn about myself and the world, and I get to enter universes that aren't really mine. When the writing goes well, I leave the room where I'm writing and fully enter the world of the story. Then I know the story is well done and that someone else will respond to it. Usually, whatever idea I start with is not the story I end up writing. I've been trying to turn that scene in Indiana into a story for nineteen years.
2. When did you know you wanted to be a writer? Why?
I knew I wanted to be a writer not long after I came back from Alaska. I had so many experiences there that I was a completely different person than when I had left just a few months before. This sort of thing happens when you are 18. I felt so disconnected to my old life of family and childhood friends in Chicago, and could not find a way to articulate what had happened to me in Alaska. Then I began college and read a story by Ernest Hemingway called 'Soldier's Home,' about a young soldier returned from WWI feeling the same way I did. Hemingway's language was simple and precise, his emotions were honest, and the story was tragic. I knew I had similar stories to tell and I began writing them.
I started writing seriously when I was 22, and published many stories over the next eight years. When I was 31, I published my first novel.
In the beginning, I wrote only for the story. Now I still write for the story, but I do have pressures of reaching an audience and making a living. What's changed is that in my twenties I was single and could live out of a backpack and published in literary journals and not care about much else. Now I am married with two children, and so I find myself wondering when I stare at the blank page, 'Will an audience respond to this?'
3. Who were your writing mentors/role models?
I built my work on the foundation of Hemingway in the beginning, not the famous Hemingway of the later years, but the young Hemingway of his first few books. He was a very delicate and sensitive writer at that time. I've gone through phases where I've incorporated the magical elements of Marquez, the breadth of Faulkner, the humor and wit of Waugh, the starkness of Carver, the specificity of Tim O'Brien. I'm steeped in a Western tradition built on Gilgamesh, The Odyssey, Beowulf, The Canterbury Tales. But also inside of me is the love poetry of India, the oral storytelling of West Africa. It's hard to see Hemingway in my work anymore, but that was the foundation.
4. What do you read for inspiration? What other activities inspire you to write?
I'm always reading hoping to find a book I love. A great book for me is one that is easy to read, and yet moves me profoundly. Cormac McCarthy has been doing this for me the past few years. Also Coetzee and Saramago, and recently, Jennifer Egan. I have a very rigorous writing discipline and don't struggle making myself sit down to write. I am always think about writing and storytelling no matter what I am doing. I think about it at the park with my kids, while grocery shopping. I am always paying attention to the world around me no matter how mundane the situation may be. I know that I am not always as engaged with the world as I should be. I'm always looking at it through the gauze of how I can use it in fiction. In that way, it is a curse, but it's too late to turn that part of me off. Plus, I don't want to.
5. How do you navigate multiple writing styles like travel writing, journalistic writing, non-fiction writing, fiction writing?
I love language and writing interesting sentences that capture ideas in ways that surprise me. It's really all the same to me. Sometimes I find non-fiction confining because it limits you to what really happened and in some ways, it turns off the imagination. But I have a voracious desire to 'know everything,' and I love that journalism gives me a right to call strangers and ask them any question I want, to study that topic in depth, and become educated in something new.
Fiction will always be art to me, and the rest of it is work that I really enjoy.
I love writing book reviews, because when you write about someone else's book, it makes you spend more time really thinking about it than if you just read it for pleasure.
I've published a few hundred news articles, many magazine articles, poems, essays, reviews, stories, novels. I've written non-fiction about travel, sport, sex, food. No writing challenges me like writing fiction. With non-fiction, the subject matter is there to work with. With fiction, the page is blank.
6. What are some of your personal writing aspirations?
I certainly enjoy winning awards and being recognized critically. My Manglorean father would be proud of me. He died when I was 22--he knew I wanted to be a writer, and I know he worried that I would struggle to make a living. The awards would please him and give him a way to measure whether I've been a success or not. I certainly use them for encouragement when I begin to doubt myself, which is often.
I was raised by my parents to make a living, support my family, and never ask for help. Where I am in my life right now with my family and children, I would forgo winning any awards to have a bestseller.
7. Which of your three works of fiction did you find most challenging to write and why?
All three were very hard, harder than I could have ever imagined as a young writer. But to rank them: my new book, Mule, was the hardest to write because I wrote it soon after quitting drinking. I had written everything to that point with a bottle close at hand, and it was difficult to learn a whole new writing process. I also had two new babies, so time and fatigue became issues. I was also desperate for a paycheck.
My first book, Whiteman, was difficult in the sense that I put a lot of pressure on myself to publish a novel. I came home from three and a half years doing relief work in Africa when I was 29, and I felt that I was getting older to not have published a novel, and I wanted a novel badly just to respect myself. So I wrote it with a desperate weight on my shoulders.
The Konkans was the easiest to write because I suddenly had money from Whiteman, and was able to quit all other work. I had so much time, and also the relief of being recognized as a writer. I was living in the success of Whiteman and had unbounded confidence. But it was still very difficult and required months and months of focused energy and discipline every single day.
I love all three of my books, by the way. They are equal to me. I am proud that they are all so vastly different.
One thing I have been surprised at is how each book has introduced me to a new audience. With Whiteman, I met many people interested in Africa, and with The Konkans, I read to audiences filled with Indians, and heard from many Indians. I was so surprised by that! I have always been taken for white and lived mostly in the white world. Suddenly I was connected to India in a way that I hadn't been since I was a child. It was very uncomfortable for me! I expected white people to be reading that book. Indians hadn't read me before and I was unsure about how to connect with them. I felt that they must be judging me on how not-Indian I am an how little I know about India.
My wife and I took our babies to India with us for four months last year. It was beyond wonderful. We traveled on overnight trains from Srinagar to Kerala, and rented a house in south Goa for eight weeks. I hadn't been there in 15 years. I worked on Mule there, wrote four or five magazine pieces, and even did some television work in Mumbai. Being connected to India is more important to me now that I have children. We named our son Rohan to remind him and ourselves of our Indian roots. Though no one took us for Indians in India, it was deeply moving for me to take my children and show them off in my grandfather's town, Chikmugulur, Karnataka. Everyone loved our babies and were always taking them away from us!
Anyway, with Mule, I am connecting with contemporary American counter-culture. I feel at home with that!
8. What advise would you give to aspiring writers?
Read and write, that's it. If the passion is there, it will work out.
shanti September 2, 2011 at 6:33 AM
Great insightful interview. If you give a lot you get a lot.
Wishing you great success on Mule.
Rare Book - The Tale Of the Tulsi Plant
International Festival of Authors at Toronto
Publishers Weekly Talks To Michael Ondaatje
Boston Book Festival On October 15th 2011
From WSJ Speakeasy: Jhumpa Lahiri Shares a Bit of ...
Michael Ondaatje Accepts the 2011 PEN Literary Ser...
Ira Glass on Creativity...


Background: Research on the pharmacotherapy of body dysmorphic disorder (BDD) is limited. No placebo-controlled, continuation, maintenance, or discontinuation studies have been published. Only one augmentation study has been published.
Method: In this chart-review study of 90 patients with DSM-IV BDD treated for up to 8 years by the first 2 authors (K.A.P., R.S.A.) in their clinical practice, response to a variety of medications, including augmentation strategies, was assessed. The relapse rate with medication discontinuation was also determined.
Results: All subjects received a serotonin reuptake inhibitor (SRI), with 63.2% (55/87) of adequate SRI trials resulting in improvement in BDD symptoms; similar response rates were obtained for each type of SRI. Discontinuation of an effective SRI resulted in relapse in 83.8% (31/37) of cases. Response rates to selective SRI augmentation were clomipramine, 44.4% (4/9) of trials; buspirone, 33.3% (12/36) of trials; lithium, 20.0% (1/5); methylphenidate, 16.7% (1/6); and antipsychotics, 15.4% (2/13) of trials.
Conclusion: These findings from a clinical setting suggest that a majority of BDD patients improve with an SRI and that all SRIs appear effective. Certain SRI augmentation strategies may be beneficial. The high relapse rate with SRI discontinuation suggests that long-term treatment is often necessary. These preliminary findings require confirmation in placebo-controlled efficacy studies and effectiveness studies.


The story of this show alone, sold it for me. The day after the contentious 2016 presidential election, Gabriel Kahane boarded an Amtrak train and journeyed cross-country, seeking inspiration (consolation?) from those he encountered. The result was "Book of Travelers," a performance piece featuring beautiful video set to original songs he wrote about the lives of fellow travelers, and a meditation on contemporary life in America. This works for me on so many levels - travel, art, music, anthropology.
My assignment was to cover the final dress rehearsal before that evening's world premier performance at BAM's Harvey Theater, a historic theater a block from their main music hall. I had 360-degree angles, complete access and an empty theater, save for a few staff and Kahane's meticulous audio and video team. I've covered many live orchestrated video performances at BAM (and I love the medium), but this performance was fantastic and an incredible treat to shoot, with four massive projection screens perfectly in sync behind the artist, and a dramatic UFO-like light sequence that I'm sure grabbed the attention of everyone in the house that evening.
An image from the set accompanied Jon Pareles' review that ran in the New York Times that Saturday. Three other images were licensed by Yamaha Pianos, where Gabriel is a sponsored artist.


text:
Patients Diagnosed With Drug-Resistant Malaria In The UK For The First Time
The malaria parasite infects red blood cells. toeytoey/Shutterstock
For the first time in the UK, it has been reported that the Plasmodium falciparum species of malaria has been found to be resistant to the main drug used to fight it. Reported in the journal Antimicrobial Agents and Chemotherapy, four patients were treated at the London School of Hygiene and Tropical Medicine, in what could be a worrying development.
All of the four patients had just returned from Africa. There were initially treated with the combination drug artemether-lumefantrine, before being discharged and sent home after a week. Within six weeks the patients were then all readmitted, each displaying recurrent symptoms and elevated levels of the malaria parasite in their blood. They were then all treated with an alternative drug, which cured them. Importantly, all four cases occurred within months of each other, leading the doctors to suspect that this could be the start of a larger pattern.
What is surprising, and potentially worrying, is that these four cases that have suddenly appeared are some of the earliest reports of malaria being resistant to this widely-used treatment. The doctors are concerned that it may be the tip of the iceberg and suggest that tests should be carried out in Africa to see if the resistance is more prevalent than thought, and what steps need to be taken to further limit it.
"Artemether-lumefantrine is the recommended treatment for non-life threatening cases of falciparum malaria in the UK," explained Dr Colin Sutherland, who led the study looking into the four cases. "This strategy is considered to be working well, however, our findings suggest that it might need reviewing – fortunately, there are other effective drugs available."
He pointed out, however: "All the patients were identified by self-referral, which suggests more cases of treatment failure in the UK may have occurred."
The researchers stress that people should not panic just yet, but that medical professionals should be aware that things may get worse, and that there should be an urgent review into the drug use and levels of resistance across the continent. "Frontline doctors should be alert to the possibility of artemisinin-based drugs failing, and assist with the collection of detailed information about specific travel destinations,"
"Frontline doctors should be alert to the possibility of artemisinin-based drugs failing, and assist with the collection of detailed information about specific travel destinations," Dr Sutherland added. "These cases act as a warning for Africa."
Malaria in other parts of the world, notably Southeast Asia, are already showing signs of developing resistance to drugs commonly used to fight it. Attention should now be focused on how the parasite managed to clear the artemether-lumefantrine, particularly as mutations were found in genes of the parasite identified in these patients that had previously been implicated in drug resistance in Africa, and could be flagged as a potential first sign that it is able to fight the medicine.
Africa,
drug resistance,
plasmodium falciparum


text:
Nanaimo RCMP seek help identifying a man they allege hid out in the ceiling of a north-end business overnight, took two monitors and walked out. (Submitted photo)
RCMP on Vancouver Island seek information on alleged 'breaking out' bandit
Man alleged to have hid in Nanaimo business washroom ceiling overnight, took monitors
Nanaimo News Staff
Police are seeking the public's help identifying a man they allege hid out overnight in a the ceiling of a business's washroom on Vancouver Island before "breaking out" and robbing it.
According to a Nanaimo RCMP press release, the incident happened between 9 p.m. on Aug. 10 and 4 a.m. Aug. 11 at a business in the north end of Nanaimo, which police say can't be named due to security reasons. According to surveillance footage, an unidentified man entered the store through its main entrance, walked into the men's washroom, locked himself in a stall and hours after closing time, lifted himself up past the ceiling tiles and crawled over to the loss prevention officers' office.
A motion alarm went off at approximately 4 a.m., said the press release.
READ ALSO: B.C. burglar hiding in ceiling caught after miscalculation
After breaking through the tiles and dropping down into the office, the man allegedly grabbed two monitors and exited the business through its front entrance.
Police refer to the man allegedly "breaking out" of the business as an "odd occurrence."
Those with any information on the identity of the man or of the incident are asked to call Nanaimo RCMP at 250-754-2345. To remain anonymous, contact Nanaimo Crime Stoppers at 1-800-222-8477 or via its website, www.nanaimocrimestoppers.com.
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text:
A Great Becoming…
A blog by Tomas Rawlings, Design Director at Auroch Digital. All musings and postings are his view only. "You are privy to a great becoming, but you recognize nothing…"
Call of Cthulhu: The Wasted Land
Filth Fair, Adam and Eve…and Naughty Bits
tags: Apple, game, games, iphone
This is a fun write up of the issues we had passing Filth Fair though the iTunes approval process:
The point of the Wellcome Trust publishing the game is that it's part of its Dirt Season, which also features a BBC TV series, an exhibition in London, and various other events at 'dirty locations in the UK'.
But it wasn't all the talk of poo and other excremental substances that got the game into trouble.
Instead, it appears a couple of bare breasts were the cause of the problem – as you can see in these before and after images, taken from a pre-release version of the game we had access to, and the version now available on the App Store.
Still, the good news is you can now get Filth Fair – which is a free app – for your iPhone, iPod touch and iPad, although for some reason it's age-rated 17 so you'll get a warning popup to click through when you download it.
You can download the game, free, from the iTunes store…
Download Filth Fair for iPhone, iPod Touch or iPad
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Mars Horizon Meets Rosalind Franklin (aka ExoMars Rover)
The Development of Chainsaw Warrior
Dark Future: Blood Red States smashes into Steam on 16th May!
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Teeth whitening ensures that one becomes more conscious of their oral health. This ensures that an individual brushed and flossed regularly to ensure that teeth maintain in the perfect state. Additionally, the visiting the dentist often ensures that one's oral health is monitored to ensure that teeth, gums and the tongue are in good shape at all times which contribute significantly to the general body health. Moreover, white teeth are easy to maintain compared to discolored teeth which need longer brushing sessions and more paste to eliminate odor.
White teeth give the impression of a health conscious individual, and a pearly white set of teeth are a gem to behold. In addition, they add aesthetic value to one's appearance. This way one feels happier and attains high self-esteem which empowers them to give genuine smiles. Moreover, teeth whitening confer self-confidence as teeth whitening removes persistent stains which brighten one's smile and assist in avoiding embarrassment. Teeth whitening is credited for making one feel youthful naturally.
Interestingly, some job requirements require that their employees maintain white teeth as it creates an impression to their clients. Moreover, in order to wax some job interviews, white teeth may assist to impress the job interviewer and may go a long way to ensure that one gets a job. Some specific work engagements such as marketing adverts, cabin crews, TV and Film personalities, celebrities and other executives use teeth whitening to impress their audience hence it is a plus in the job search.
Teeth whitening is an affordable dental procedure that achieves immediate results with minimal risks. There is no downtime in the procedure as it is an outpatient process that does not involve needles. Moreover, it is an easy way to achieve a bright set of teeth which enables to be comfortable and enable one to speak more boldly and give perfect smiles.


A concert of new works by composers studying at the Guildhall, as well as Peter Ablinger's Amtssee bei Regen and On bare trees by James Saunders.
Two evenings of concerts of works by student composers from Bath Spa University.
Plus-Minus presents a concert of works especially written for the group, including the premiere of Alexander Schubert's Sensate Focus, alongside recent pieces by Bernhard Lang and James Weeks. The programme features field recordings of street musicians, samples from a horror movie soundtrack, a synchronised light show and itchy loops.


text:
by Gordon Korman
2 Cedar Hills
Capricorn "Cap" Anderson has never watched television. He's never tasted a pizza. Never even heard of a wedgie. Since he was little, his only experience has been living on a farm commune and being home schooled by his hippie grandmother, Rain. But when Rain falls out of a tree while picking plums, and has to stay in the hospital, Cap is forced to move in with a guidance counselor and her cranky teen daughter and attend the local middle school. While Cap knows a lot about tie-dyeing and Zen Buddhism, no education could prepare him for the politics of public school.
Gordon Korman's best-known bestseller A quirky homeschooled kid must learn how to fit in (or stand out) at public school in this heartwarming fish-out-of-water classic.
Capricorn Anderson had never watched a television show before. He'd never tasted a pizza. He had never even heard of a wedgie. And he had never, in his wildest dreams, thought of living anywhere but Garland Farm commune with his hippie caretaker, Rain.
Capricorn (Cap for short) lived every day of his life on Garland Farm growing fruits and vegetables. He was homeschooled by Rain, the only person he knew in the world. Life was simple for Cap. But when Rain falls out of a tree while picking plums and is hospital-ridden, he has to attend the local middle school and live with his new guidance counselor and her irritable daughter. While Cap knew a lot about Zen Buddhism, no amount of formal education could ready him for the trials and tribulations of public middle school.
Cap doesn't exactly fit in at Claverage Middle School (dubbed C Average by the kids). He has long, ungroomed hair, wears hemp clothes, and practices Tai Chi out on the lawn. His weirdness basically makes him the biggest nerd in school. This is great news for Zach Powers, big man on campus. He can't wait to instate the age-old tradition in C-Average School: The biggest nerd is nominated for class president -- and wins. So when Cap becomes president, he is more puzzled than ever. But as Cap begins to take on his duties, the joke starts to turn on Zach.
Will Cap turn out to be the greatest President in the history of C-Average School? Or the biggest punchline?
Gordon Korman is one of the most popular young adult and middle grade authors writing today. He published his first book at the young age of fourteen and has been going strong ever since. A tireless self-promoter, Gordon is constantly traveling across the country to visit different schools. He and his wife, a teacher, live on Long Island with their three children.
DISNEY BOOK GROUP
Andy Rash
y Rash
Priscilla Cummings
Gordon Korman
Middle school students.
Children s-General
More copies of this ISBN
New, Trade Paperback, $6.99
Used, Trade Paperback, $3.95
Used, Book Club Paperback, Starting from $3.95


text:
import BoostBuild

t = BoostBuild.Tester()

t.write("jamroot.jam", "import gcc ;")

t.write("jamfile.jam", """
import print ;
print.output foo ;
print.text \\\"Something\\\" ;
DEPENDS all : foo ;
ALWAYS foo ;
""")

t.run_build_system()
t.expect_content("foo", """\"Something\"""")

t.write("jamfile.jam", """
import print ;
print.output foo ;
print.text \\\n\\\"Somethingelse\\\" ;
DEPENDS all : foo ;
ALWAYS foo ;
""")

t.run_build_system()
t.expect_content("foo", """\"Something\"
\"Somethingelse\"""")

t.write("jamfile.jam", """
import print ;
print.output foo ;
print.text \\\"Different\\\" : true ;
DEPENDS all : foo ;
ALWAYS foo ;
""")

t.run_build_system()
t.expect_content("foo", """\"Different\"""")

t.cleanup()


text:
Q: how sencha get data from event I have a list in my view declare listeners on it. How can I get the record data from the event "itemdoubletap"?
My code in view:
{
    xtype: 'list',
    flex: 1,
    store: 'loanliststore',
    itemTpl: '贷款名:{loanname},描述:{loandesc}',

    listeners: {
        itemdoubletap: function(index, target, record, e, eOpts){
            console.log(record.get('loanname'));
            //the console said cant read the property 'get'
        }
    }
}

A: You are missing an argument, change:
function(index, target, record, e, eOpts)

To:
function(cmp, index, target, record, e, eOpts)


Background. Legislation places an onus on local authorities to be aware of care needs in their locality and to prevent and reduce care and support needs. The existing literature overlooks ostensibly 'healthy' and/or non-users of specific services, non-health services and informal assistance and therefore inadequately explains what happens before or instead of individuals seeking services. We sought to address these gaps by exploring older adults' accounts of seeking assistance in later life.
Methods. We conducted semi-structured qualitative interviews with 40 adults aged 68–95. We invited participants to discuss any type of support, intervention, or service provision, whether medical, social, family-provided, paid or unpaid.
Findings. This paper reports older people's accounts of how they evaluated their need for assistance. We found that the people in our sample engaged in a recursive process, evaluating their needs on an issue-by-issue basis. Participants' progression through this process hinged on four factors: their acknowledgement of decline; the perceived impact of decline on their usual activities and independence; their preparedness to be a recipient of assistance; and, the opportunity to assert their need. In lieu of seeking assistance, participants engaged in self-management, but also received unsolicited or emergency assistance.
Conclusions. Older people's adaptations to change and attempts to meet their needs without assistance mean that they do not present to services, limiting the local authority's knowledge of their needs and ability to plan appropriate services. Our findings offer four stages for policymakers, service providers and carers to target to address the uptake of assistance.
2. MacLeod, C., Canvin. K., Sacker, A. & Windle G. Using Technology in Later Life: Qualitative Insights into Actual and Perceived Barriers. Paper presented at the 21st IAGG World Congress of Gerontology and Geriatrics, San Francisco, California, 23-27 July 2017.
3. MacLeod, C., Canvin. K., Sacker, A. & Windle G. Seeking assistance in later life: A qualitative investigation of service non-use. Paper presented at the 46th Annual British Society of Gerontology Conference, Swansea, Wales, 5-7 July 2017.


Fake decorative trees add color and life to a room without the care requirements of real trees. Beyond needing to be dusted every once in a while, fake trees remain green and lush in dark, cold rooms with no watering. Creating your own fake trees gives you the opportunity to customize the size, shape and coloring to your tastes. You may add flowers or simply stick with leaves. You may also forego a realistic look for a metallic, bare-wire tree with gemstone chips acting as the leaves. Whatever your choices, you can whip up one of these versatile trees in an afternoon.
Nip about 15 pieces of craft wire about 4 inches long. This should create a 15-inch-high tree. Gather the pieces together and fold them in half. Pinch the wires together about 5 inches above the fold to create a loop. Twist the wires together about three turns.
Separate the loops below the twist into bundles of three and four. Twist the bundles together for about five or six turns, separate the bundles into groups of one or two, and twist out to the end. This creates your root system; make it as twisted and gnarled as you can.
Twist the wires together above the twist for about five more turns, creating a trunk about 5 inches long. Separate the wires into groups of three, four and five, and twist them together for several turns. Separate the wires again into groups of two and three, and continue twisting. Bend and twist the branches so they look natural.
Mix about a pint of plaster powder with about 1 ½ cups water to make a thick mixture. Cover the drain hole in your terracotta tray with masking tape, and pour the plaster into the tray to about ½ inch from the top. Allow the plaster to harden for half the time the packaging recommends.
Place your tree on top of the partially hardened plaster. Poke the tips of the roots into the plaster, pushing down on the tree gently to anchor it. Allow the plaster to cure completely.
Squeeze dime-sized dollops of wood filler onto the roots of your tree. Smooth the filler over the wires with your fingers, creating a wood-colored coating over your tree. Continue working up to where the branches split into single wires. Allow the fill to harden overnight.
Apply brown acrylic paint to your tree with a stiff-bristle brush, using a different shade of brown. Allow the paint to dry for several minutes, then brush at it sharply with up-and-down strokes to give the tree the illusion of bark texture.
Gently pull apart a little polyfiber fill and lay it over the bare wires at the tops of the branches. Add just enough to cover the wires, but allow the branches to show for a natural look. Use just green for leaves, or add a little pink, yellow or white for flowers.
Spray the polyfiber leaves with aerosol hairspray to hold them in place. Also spray the plaster with hairspray, and press polyfiber fill on top to create grass before displaying your decorative tree.
To create a Japanese money tree or decorative gemstone tree, stop at Step 5 and slip money tree coin beads or gemstone chips of your choice onto the single wires. Use plenty of beads to give your tree a full look.


The reason, said Fr. Petit, why we find life so hard, mortification difficult, and why we are inclined to avoid all that we dislike, is because we have no real love for Jesus.
Overjoyed at the unusual graces bestowed on the young priest (Fr Doyle), the Spiritual Father (Fr Petit) encouraged whole-heartedly his desire for closer union with God, his passionate love of our Lord and his eager zeal for souls. He approved his attraction for mortification, but insisted at the same time that perfections consists much less in the practice of austerities than in abnegation of one's will and judgement, and in self-forgetfulness and humility.
There is a wonderful little old priest here, named Fr. Petit, small in name and small in size – he is about three feet high. He is eighty-five, but as active as a man of thirty, being constantly away giving retreats. I have tried several times to get down to the chapel at four o' clock in the morning before him, but he is always there when I come in. He is a dear saintly old man with wonderful faith and simplicity. In the middle of an exhortation in the chapel, he will turn round to the Tabernacle and say: Is not that true, my Jesus? He is giving a retreat here this moment to a hundred and ten gentlemen.
In relation to the main quote at the top of this posting, once again, there is much that one can reflect on here. The last line is key: we find life so hard, mortification difficult, and…we are inclined to avoid all that we dislike…because we have no real love for Jesus.
Most people have family and/or friends that they love in life, and are generally willing to make great, even heroic efforts, to serve them because of this love. Can the same be said about our service of Christ?


There has not always been a need to know precisely how hard the wind blows 350 feet above Earth's surface. Today, wind turbines occupy that zone of the atmosphere, generating electricity. So NOAA and several partners have launched a year-long effort to improve forecasts of the winds there, which ultimately will help to reach the nation's renewable energy goals.
The Wind Forecast Improvement Project (WFIP) is a collaboration among NOAA, the U.S. Department of Energy (DOE), two private wind energy companies and academic research institutions. The project began today as dozens of powerful, custom instruments designed to better profile and predict the weather and winds were powered up.


text:
Q: How do i open sliding up panel that will cover all of the parent widgets higher in the tree? I'm not sure how to properly ask this question in a semi coherent manner, so I will give context to the situation.
This is kind of a social network app, so it has posts in it. You can report these posts by pressing a button on these posts, which opens a sliding up panel at the top of the tree. And I have a few pages that have post list in them, but they are in this said main page.
Instead of constantly passing a callback function which opens this sliding up panel on mainPage, i wanted to place this sliding up panel in the post item widget itself. I tried to implement this, and it does work, but not how I want it to. It only covers the listView that has these postItemWidgets, instead of the entire screen. It should have covered the entire screen, AppBar and bottomNavBar included, but it doesn't do that.
I'm pretty sure there is at least some way of doing this, but I genuinely have no idea how to properly formulate a question to google.
Thank you for any help.
Here is mainPage code:
    @override
  Widget build(BuildContext context) {
    return VisibilityDetector(
      key: Key("MainPage"),
      onVisibilityChanged: (VisibilityInfo info) {
        _isVisible = info.visibleFraction == 1.0;
      },
      child: GestureDetector(
        onTap: () => FocusManager.instance.primaryFocus?.unfocus(),
        child: Container(
          color: Theme.of(context).scaffoldBackgroundColor,
          child: SafeArea(
            top: false,
            bottom: false,
            child: SlidingUpPanel(
              maxHeight: 600.h,
              backdropEnabled: true,
              color: Colors.transparent,
              collapsed:
                  Container(decoration: BoxDecoration(color: Colors.grey)),
              minHeight: 0,
              borderRadius: const BorderRadius.only(
                topLeft: Radius.circular(
                    UiConstants.reportDialogBorderRadiusTopLeftRight),
                topRight: Radius.circular(
                    UiConstants.reportDialogBorderRadiusTopLeftRight),
              ),
              panel: BackdropFilter(
                filter: ImageFilter.blur(sigmaX: 10, sigmaY: 10),
                child: StreamBuilder(
                    stream: _bloc.openReportPageStream,
                    builder: (context, snapshot) {
                      if (snapshot.data is ReportPageModelState) {
                        ReportPageModelState state =
                            snapshot.data as ReportPageModelState;
                        return Center(
                          child: ReportMainPageWidgets(
                              _bloc, edit, removeSome, state.model),
                        );
                      } else {
                        return Center(
                          child: ReportMainPageWidgets(
                              _bloc, edit, removeSome, _bloc.postModelForEditing),
                        );
                      }
                    }),
              ),
              controller: _panelController,
              onPanelClosed: () {
                _bloc.reportWidgetState = ReportWidgetState.loading;
                _bloc.setPanelState();
              },
              onPanelOpened: () {
                _bloc.setPanelState();
              },
              body: Scaffold(
                extendBody: true,
                body: Scaffold(
                  body: _openPageStreamWidget(),
                  bottomNavigationBar: _bottomAppBarWidget(),
                ),
                bottomNavigationBar: _navBarStreamWidget(),
              ),
            ),
          ),
        ),
      ),
    );
  }

And this is the callback function that opens the sliding up panel:
void clickOnPostReport(int id) {
    if (id != _bloc.id) {
      _bloc.editPostModel(id).then((value) {
        _bloc.postModelForEditing = value;
        print("server request");
        _bloc.reportWidgetState = value.author.id == MainBloc.user.id
            ? ReportWidgetState.editing
            : ReportWidgetState.report;
        _panelController.open();
      });
    } else {
      _bloc.reportWidgetState =
          _bloc.postModelForEditing.author.id == MainBloc.user.id
              ? ReportWidgetState.editing
              : ReportWidgetState.report;
      _panelController.open();
    }
  }


text:
Feronista amaroides is een keversoort uit de familie van de loopkevers (Carabidae). De wetenschappelijke naam van de soort is voor het eerst geldig gepubliceerd in 1965 door Moore.

Loopkevers


For a while now, we've been able to go to the Google Maps app and see how much it would cost to get an Uber to our destination. We could then tap a button to open the Uber app and order the car. Google expanded the feature to ride-hailing apps such as 99Taxis in Brazil and Ola Cabs in India. Now, the feature is coming to several countries Southeast Asia.
People in three cities in Indonesia will now see an option to grab an Uber or a ride from Go-Jek, a local motorbike transportation service. Ten more cities are coming soon, but the feature is available on Android now, and is rolling out on iOS. Google is also adding the option to choose rides from Grab in 24 cities throughout Indonesia, Malaysia, Philippines, Singapore, and Thailand. This feature is available on Android now, but is also rolling out on iOS.
Recently, Google brought the option to pick Ola Cabs in India, Mytaxi in Germany and Spain, Gett in the U.K., as well as Hailo in the U.K. and Spain. Now you'll also be able to choose from Gett, Hailo, and MyTaxi in select cities in Ireland, Poland, Italy, Austria, Russia, and Israel on Android and iOS.
Since there's a lot of options rolling out in the ridesharing category, the Maps team added a tab dedicated to ride-hailing services next to the existing car, walking, and public transportation tabs. If you have one or more of the supported apps installed, simply tap on the service for which you want to see an estimated fare. You'll then be able to tap a button to open up the app and hail a ride. Uber is still the first option you'll see — likely because Google has invested $258 million in the popular ridesharing service.
There is still no support for Lyft in Google Maps here in the U.S.


text:
Throwback Thursday: A lifelong friendship, a Steppenwolf album and a bulldog named Martha
Early days of illustrator C.F. Payne, mogul Howe
Posted: 7:00 AM, Feb 04, 2016
By: Brent Coleman, WCPO contributor

Howe built a frame for Payne's drawing of Martha and has had it in his office for years. Andy Howe/Provided

WYOMING — Who would have thought, looking at this 47-year-old photograph, that these two teenage boys from Wyoming, Ohio, would grow up to have wildly successful careers in such disparate fields – yet remain close friends forever?
On the right is the better-known of the two, Chris Payne, who is a world-renowned illustrator known as C.F. Payne. His latest collaboration, "Miss Mary Reporting," by Sue Macy, came out this week, and his publishing credits include a portrait of Barack Obama on the cover of Time magazine and 80 drawings in the 2015 version of Mark Twain's "Tom Sawyer."
On the left is Andy Howe, a mercurial real estate developer (Cranewoods Development) and mogul who lives in Jacksonville, Fla., but keeps a condominium in Cincinnati because both his business and family ties here are so strong he needs a steady place to crash during his frequent visits.
And in his arms is Howe's family dog, Martha, whose story and that of the bond between Payne and Howe are what this installment of Throwback Thursday is all about.
Payne: My guess is this picture was taken in the fall of 1969 in Andy's parents' kitchen. I was a sophomore at Wyoming High School. Andy was in the eighth grade. I can tell this picture was taken in the fall because I am wearing a football jersey. I was very much about wearing something relating to the sport in-season.
Payne and Howe give the thumbs-up to a Cincinnati pig mural Payne painted in the hallway of a downtown home Howe remodeled. Andy Howe/Provided
From seventh grade through graduation, I was a manager of the Wyoming High School football team. In that sophomore year, Andy also served as a manager of the team and got a new addition to his family, Martha the bulldog. Prowling the sidelines for that one season, Martha was our mascot for the team.
For the next two years, I continued to serve the team as a manager and did get to make the team as a field goal kicker. I did OK as the kicker. I never won or lost a game. I just did my job. Andy, however, went on to join the Wyoming High School wrestling team, where he set the school record for most wins in four years.
Martha had a good life, not as long as most dogs, but she was queen of the Howe castle.
Howe: I first met the Payne family in fifth or sixth grade when I gave Chris' little sister, Katie, a Steppenwolf album for Christmas. (Chris just reminded me adamantly that it was the second Steppenwolf album. Who remembers that kind of stuff?)
Our family moved to California during seventh grade, when my Dad was transferred there for his final "hitch" after being in Vietnam as a doctor in the Air Force. When we came back to Wyoming, I think I tried about every school activity and sport there was, but I failed miserably at all but wrestling, and became friends with Chris during the football season.
We had great times in his racy Corvair, picking up and watching football game films that were shot by Gene "Mr. Wyoming" Pitman, driving on the cinder track and in general just goofing around.
Howe built a frame for Payne's drawing of Martha and has had it in his office for years. Andy Howe/Provided
Our English bulldog, Martha, became fairly legendary; she was introduced on the field during the football team's Senior Night. And at the year-end football banquet my mother sent a note to the football coach, Bob Lewis, that read: "Martha sends her regrets, but she will not be able to attend the banquet as she is recovering from a hysterectomy" (she had just been "fixed").
Bob Lewis and Gene Pitman are legends at Wyoming High. The football field is now Bob Lewis Stadium, and the Hilltop ball field is Gene Pitman Field. Before his death recently, Mr. Pitman liked to tease me about my Mohawk haircut during wrestling season and smashing a second place trophy at the UC Invitational.
The sketches of Martha that Chris did for me in eighth grade hang on my office wall in the original wood shop frame that I made with a football and an "M" at the top.
Chris has had his artistic talent his entire life. He remembers drawing an Eskimo in second grade and getting the nose "just right" while the rest of us were drawing people as single circles with stick arms and legs.
Our families have been somewhat intertwined: His older brother, Bo, ratted me out to the cops for driving my go-cart on what is now Gene Pitman Field (much to Bo's delight), and Chris' cousin, Danny, was my father's classmate at Wyoming. They remain best friends to this day. We were lucky to have grown up in Wyoming at that time, and we continue to have lifelong family friends.