text:
Review by Adam Woodward @AWLies
Alan Taylor
Arnold Schwarzenegger Emilia Clarke Jai Courtney
Same Terminator. New tricks?
A colossal failure on every conceivable level.
Destined for the scrap heap.
Arnold Schwarzenegger may be back, but this trilogy opener suggests the franchise is hardwired to self-destruct.
Cast your minds back to the summer of '91 and allow us set the scene for one of the most shocking crimes of movie marketing ever committed. The best part of a decade on from James Cameron's seminal cybernetic sci-fi, audiences were eagerly gearing up to go another round with the T-800. Unbeknownst to the moviegoing public, however, Cameron had an earth-shattering twist up his sleeve: Arnie was now the good guy.
Throughout the production of Terminator 2: Judgment Day Cameron managed to keep this crucial plot detail a secret, anticipating fans' jaws collectively hitting the theatre floor when, a full 38 minutes into the film, he would drop arguably the most audacious bait and switch in movie history. But this surprise wasn't revealed as Cameron had intended, because in the months leading up to the film's release TriStar Pictures made sure that everyone knew what to expect.
Watching the theatrical trailer back, it's easy to see why the US distributor went against the director's wishes – they had an expensive, shiny new baddie to show off, and reacquainting audiences with an Arnold Schwarzenegger who by 1991 had already found his softer side in Kindergarten Cop and Twins was presumably deemed a smart move. That doesn't change the fact that the entire campaign was built around the mother of all spoilers, but hindsight affords us the benefit of being able to recognise the logic behind it. Still, imagine the impact T2's heel turn would have on an unsuspecting audience today, in an age where a character chipping a nail on a show like Game of Thrones is enough to send Twitter into a tailspin. Never mind breaking the internet, a bombshell on that scale would surely change the face of mass entertainment as we know it.
But enough of the history lesson. There's a point to all this retroactive protesting, one that should by now be clear to anyone who's familiar with the promotional materials for Terminator Genisys. (If you're not, don't worry, we're not about to ruin anything for you.) In director Alan Taylor's reboot-cum-prequel-cum-bloated exercise in blockbuster autocannibalism, the series' famously oblique timeline is muddied further still when friendly T-800 confronts not-so-friendly T-800 at the Griffith Observatory in Los Angeles circa 1984. He's aided by a young Sarah Connor (Emilia Clarke) already in full trigger-happy warrior mode, who the film's alternate reality structure dictates must refer to the Terminator as 'Pops'. Because time travel.
Yet the film's central narrative thread – which seeks to invert the core family dynamic established in the first two films – hinges on the unexpected modification of one of its chief protagonists. As with T2, this pivotal role reversal has been repeatedly leaked via numerous teasers and featurettes, a game plan which even the film's director has publicly criticised. The fundamental difference is that T2 went on to do gangbusters, becoming the highest grossing film of that year and thereby vindicating the film's bare-all marketing ploy. How history favours the promotion of Terminator Genisys will ultimately depend on the film's box office performance. But we're willing to stick our neck out and predict that the trick isn't about to be repeated.
Where Cameron's original is at its most exhilarating when human flesh and robot hardware clash, T2 shows us that it's possible for man and machine to coexist (see the scene where Edward Furlong's John Connor teaches the T-800 '90s street slang terms like "no problemo" and "eat me"). It's these lighter, more tender moments that elevate T2 above other modern action movies, Cameron shrewdly switching the emphasis to explore an unconventional father-son relationship. This time around, it's Skynet that is given a human face as Taylor literally rearranges the Terminator chronology while reconstructing various familiar scenes from a different (but not necessarily new) perspective.
The result is a film which at any given point doesn't appear to know what direction it's facing, keeping the audience trapped in an endless feedback loop of grinding expositional banality. Which is ironic for a film about a sentient AI system that has taught itself how to outmanoeuvre its intellectually inferior maker. The tedious plotting and flat dialogue would be at least partly admissible if the action was up to par, but any film that features a somersaulting school bus as its centrepiece stunt – a feat lifted straight from Christopher Nolan's The Dark Knight – is practically begging to be called out for its lack of ambition and originality.
Where the film falls down hardest is in the recasting of the franchise's key players. Jai Courtney is instantly forgettable as buff Kyle Reese, a man who looks like he'd be easily confused by the sight of his own reflection and yet is somehow able to wrap his head around exponential algorithms, nexus points and quantum warps. Genisys also sees the return of the T-1000, played by South Korean actor Byung-hun Lee. Although again, it's not exactly an upgrade. Elsewhere Emilia Clarke and Jason Clarke raise the suspicion they were cast as the Connors solely on the basis that they share the same last name, so horribly suited are they to their respective roles.
And then there's Arnie – same model, same mission, only now largely relegated to the sidelines, called upon whenever his robotic monotone is required to explain a plot detail or crap out a catchphrase. Despite persistently reassuring us that the T-800 is old but not obsolete (we're informed that the living human tissue covering its hyperalloy endoskeleton has degenerated – because every post-comeback Arnie film is apparently obliged to make reference to his age), Schwarzenegger is a shadow of his former self here, cutting a strangely detached figure throughout the film's two-hour runtime. Having witnessed Judgement Day, survived the Rise of the Machines and wisely sidestepped Salvation with us, Schwarzenegger's most enduring character is now oxidising rapidly before our eyes. An action icon in retrograde.
Interestingly, there are several points of comparison to be made between Genisys and Colin Trevorrow's Jurassic World, another glossy retread that's perfectly content trading off of the legacy of its predecessors. These films essentially serve to remind audiences how far Hollywood has come over the last 20 or so years with regards to both computer-generated and in-camera visual effects, but in that respect neither can really be called an improvement on the originals. They may be bigger, louder, toothier, yet despite the obvious technological advances the action sequences are less exciting than before. As long as blockbusters of this ilk keep striving to up the stakes by filling the frame to bursting with elaborate pyrotechnics, the storytelling will continue to suffer.
The similarities don't end there. Jurassic World and Terminator Genisys each pit humanity against a supreme destructive force of its own making (Genisys even has its own Indominus Rex, albeit a less impressive specimen whose powers are somewhat vaguely defined), but the fallacious faux-ecological message they tout is that the world was ever ours to take back in the first place. Moreover, just as Jurassic World weighs itself down with the same allegorical anchor line as Steven Spielberg's 1993 classic, so Genisys raises the same ethical concerns as Cameron's earlier films – namely, society is at risk of becoming enslaved by consumer capitalism.
And that's fine. After all, that very real fear has only calcified in the intervening decades, and to be honest we weren't really expecting Genisys to bring anything new to the table as a social commentary. The problem is that Genisys is so earnest in its misplaced belief that what it has to say is not only profound but vital, espousing the cause of those who oppose today's always-on culture by firing off several warning shots about the proliferation of social media. Just shut up and get back to blowing shit up, already! Yeesh.
Above all, Genisys is a staggeringly dull film. You could mount a case for its defence based on this being the first chapter of a proposed new trilogy, and consequently it is required to do a lot of heavy lifting in order to bring everyone up to speed. But that doesn't pardon Taylor from engineering such a joyless spectacle. If this is a sign of things to come for the Terminator franchise, the nuclear apocalypse can't come soon enough.
Tags: Arnold Schwarzenegger Emilia Clarke
By Adam Woodward
Arnold Schwarzenegger stars in a small indie horror film and the result ain't pretty.
Why The Iron Giant is one of the most powerful superhero movies ever made
By Tom Bond
Brad Bird's soaring 1999 animated feature taught us that true heroism is much more than quips and spandex.
articles In Praise Of
By David Ehrlich
Silly self-reflexivity dominates in Colin Trevorrow's noble attempt to sell CG dinos to a jaded modern audience.


Approaches for Playing as well as Winning the Lotto Game – How To Play And Win With Lotto | Discover The Secret To Winning The Lottery!
The lottery game is still one of the best means to flourish and also rid you off monetary problems for some time, however if managed well, you can wave bye-bye to financial fears completely. Statistically, at the very least half the grownups in the US have played the state lottery and 65% of them are regular customers of the lottery tickets. In the UK, 15 to 45 million tickets are sold for each Lottery draw, formally referred to as The National Lotto. This is a huge number of players all looking to win the massive payment. Nonetheless, few individuals scratch the fortunate numbers, as well as it is a gambling game.
As the saying goes, fortune favors the vibrant as well as this is not truer compared to when it involves playing the lottery game. Close to 85% of the people who play the lotto play little and also expect huge returns. With the numbers shown over, your opportunities increase the number of times you play.
If you were to inform a person that the lotto game code can be broken, they would believe you insane. Nonetheless, it could be done. Over the source of the years, there are people from across the world that has actually a won the lotto greater than as soon as. It is for not just little payout; these victors take residence checks worth thousands and countless bucks, sometimes greater than as soon as in various lotto games.
Now you will certainly have realized that there are different lotto game games each with its chances of winning. Before you purchase the ticket for your hard-earned loan, guarantee that you understand just what the probabilities are for every of the games. There are nationwide lottos in addition to state lottery games. The nationwide lottos have a more comprehensive entrance swimming pool, but with lowered possibilities of winning, while state lottery games are less complicated to win, you need to be a homeowner of the state to play and potentially win.
Various video games have various techniques, and also the best thing to do is to guarantee that you pick the lotto game video games that you make certain you can utilize technique to win it big. Some techniques require a great deal of math and also solutions, as well as it could take you years prior to you could strike the best formula to picking the numbers. On the web, you could discover many lotto approaches that work, but it takes a clear conscience and also a sharp mind to win.
The chances are that your colleagues, household, and friends play the lottery. The very best way to improve your chances of winning is by buying more tickets without spending more money. As a private, there is no other way that you can get more tickets without investing more cash. Lotto game pools give you the best methods of enhancing your probabilities of winning. They operate in that the people in the swimming pool contribute cash to buy the tickets when they win, they split the money according to the cash added to purchasing the tickets.
You will get minimal winning than if you had gotten the tickets on your own, however at the very least you will have far better probabilities of winning. The pool has as lots of chances of winning as there are participants, as well as it is amongst the lotto strategies that work.
You win rewards in random drawings, and the tickets are just offered within a given duration. Some illustrations, occur more often depending upon the lotto game you are playing, as well as the cash prizes range anywhere between $500 to greater than $1 million. The rewards could additionally differ relying on the game you play, there lottery gamers who have actually won tickets, family items, holidays, also all new automobiles, thanks to the 2nd possibility video games.
Secure your lotto ticket and avoid lotto game scams.
Lotto fraudulences are actual, and also they could take place to anybody. When you obtain the winning numbers for the prize, there is nothing worse than realizing that you have actually been the victim of a scam. After you procure your lotto ticket, now, you do not know if your numbers are the winning ones; authorize it at the back. This is a fail-safe method of ascertaining that the ticket is your own when the numbers are revealed, and also they are the ones you carry your ticket.
Even if it gets shed, nobody could declare the cash given that it is your own. Nevertheless, it is vital that you maintain your tickets secure in an area where you can access it conveniently. Right here are actionable tips to stay clear of being a lotto scam sufferer.
• Do not quit your personal information to the lotto video game reporters largely to individuals and companies you do unknown. This includes personal details such as banking information, social protection number, et al.
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• Whenever feasible prevent international lottos that guarantee a substantial payout. Inning accordance with previous events such as these, they are frauds, and they hook you into acquiring overpriced tickets only to find that they are not legit and also unregistered, unlicensed, as well as unregulated. Purely purchase your lottery tickets from licensed suppliers.
• Getting the money telephone call, text, or email, overwhelms many individuals, given that it is a possibility to obtain their hands on the money. Remember if you did deny the lottery game ticket, you did not win, this reality gets lost in lots of people, and they end up paying substantial amounts of cash to obtain the cash, which becomes the classic lottery scams.
• It is your duty that you check your numbers as well as double check that undoubtedly you are the champion. The lottery never makes calls, texts, or e-mails winners to inform them that they have won, and also any person calling you or messaging you via e-mail, messages, or IM, after that it is a scams. They will take this benefit and also ask you for loan to 'refine' the quantity you have evidently won.
Always contact the lotto game administrators if you believe that you are the sufferer of a lottery game fraudulence. 90% of the time, lottery winners do not know that they are being scammed and also this leaves a negative preference in their mouths and also pass up on their chances of winning again in the future.
Disloyalty is a hefty word, and many people cower when they hear of it, and they would not prefer to be related to it. Nevertheless, it does not have to be your lotto game ticket that wins the lotto game, yet you could be the one to collect the payment. Many people toss out their tickets right after an illustration, and also the tickets might be still beneficial. Maybe they examined the incorrect illustration, they did not examine the numbers, or they mislead the numbers.
Do not assume it is a waste of time collecting discarded tickets; they just may be the door to your luck. Bear in mind the 2nd chance video games, even if the ticket does not win the pot, it could still win you some prizes in among the arbitrary illustrations. This is the easier means of cheating and also winning the lottery. However, some people and organizations claim that they can tell you how to win the lotto scratch off, in addition to how you can win lotto numbers using technology to cheat.
Winning the lotto game is everything about possibility, and when you begin seeing individuals begin to win more than as soon as, there are claims that they cheated the lottery. One thing is for sure, winning the lottery game is a matter of chance, and not luck and also likelihood can be adjusted.
Lotto scrape offs are the most prominent amongst the specialist lotto gamers. They bring in the lottery game business one of the most sales. They pay even more daily than the once a week, regular monthly, as well as yearly lotto game draws. Throughout decades, mathematicians and also professional lottery gamers have actually created complicated though effective techniques that aim to raise the opportunities of winning during the major draws.
There is an expanding number of individuals that favor playing scratch offs due to the fact that it is less complicated to win compared with playing the lottery and waiting to win during the main draw. Different scrape offs have different chances given that they are not all equivalent. The scratch offs with the most awful odds have the biggest payouts, but this indicates you need to acquire them wholesale.
The exact same situation relates to playing monthly; you can obtain the chance of obtaining tickets with more substantial payouts along with even more tickets since you will have more money to get tickets that might obtain you a few big bucks. The very best time is to buy the tickets in the 4th week of the month as compared to the initial week.
As seen over, winning the lotto is not almost gaming, as many people would certainly have you think. It is a game of technique whether you win by disloyalty or key, yet the objective is to win. Individuals like Richard Lustig and also Joan Ginther have made use of approaches to win several payments, as well as they have settled their success and also end up being millionaires. When playing the lotto, have the mind of a winner, because it will can be found in helpful when spending your benefit.
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NewsInternational NewsHalf of Britons Oppose Trump's State Visit to UK
Half of Britons Oppose Trump's State Visit to UK
London, December 14 (RHC)-- About half of the British public believes that the UK must scrap its invitation for a full state visit to U.S. President Donald Trump following his support for a British far-right group, a poll has revealed. The exclusive survey published for The Independent by BMG Research shows 48 percent want the visit written off, with the figure increasing to 61 per cent once "don't knows" are removed.
An increase to the opposition toward the official trip, which would see Trump meet the Queen, came as the U.S. ambassador to London talked about a less formal visit to the UK would take place in the new year. Trump's journey to Britain will likely be beset by demonstrations over the President's "Muslim travel ban" and the decision to recognize Jerusalem al-Quds as Israel's capital and climate change policies.
The poll also asked respondents whether, following criticism for Trump's promotion of videos posted by Britain First, "should his invitation be officially withdrawn for his state visit to the UK?" Forty eight percent of more than 1,500 people in a controlled sample questioned said the invitation should be withdrawn, while 31 per cent said it should not and 21 per cent said they did not know.
The poll for The Independent also asked whether people thought Trump should be allowed to come to the UK in "any capacity." Forty three percent said he should be able to visit, 40 percent said he should not and 17 percent did not express an opinion either way, the poll revealed.
In July Trump postponed his much-anticipated trip to the UK until 2018, after refusing to visit the country due to overwhelming protests. Donald Trump is not likely to visit the UK before next year, a new report claims.
The government of Prime Minister Theresa May extended Queen Elizabeth II's invitation to Trump during a visit to the White House only a week after the Republican president's January 20 inauguration. The visit request was met with backlash from British people and politicians alike.
Edited by Pavel Jacomino
Donald Trump Considers Canceling State Visit to Britain Amid Fears of Mass Protests
Trump Cancels U.K. State Visit Amid Fears of Mass Protests
Donald Trump Asks for 'Dummy' UK Visit Before Main Trip
Demonstrators in London mock Donald Trump during visit to UK
Protests Against Trump in UK as Lawmakers Debate Canceling State Visit
White House Says Trump Has No Plans to Visit UK in Near Future
British Foreign Secretary Says London Would Join U.S. in Syria Air Strikes
Tens of thousands protest against Donald Trump in London
Protesters fired up for U.S. President Donald Trump's visit to Britain

redpajama_set_name: RedPajamaCommonCrawl


Currently doctors use symptoms and a raft of tests and biopsies to determine if cancer is present which can sometimes take months.
The team found that the DNA of cancer cells sticks strongly to nanoparticles of gold giving a quick indication whether disease is present or not to the naked eye.
And because the same changes occur in all cancerous cells, the test should work on all cancer types, the team believes.
Writing in the journal Nature Communications Dr Matt Trau, Professor of Chemistry, said: "Our approach enabled non-invasive cancer detection, i.e a blood test, in 10 min from plasma derived DNA samples with excellent specificity.
"We believe that this simple approach would potentially be a better alternative to the current techniques for cancer detection."
Although currently the test cannot determine where the cancer is, or how advanced it might be, it could give doctors an early warning that disease is present so they can carry out more detailed tests.
For cancers like pancreatic and ovarian which have few warning signs, it could mean the disease is picked up before it has spread, and while there is still time for surgery and drugs to be effective.
Dr Ged Brady, from the Cancer Research UK Manchester Institute, said: "This approach represents an exciting step forward in detecting tumour DNA in blood samples and opens up the possibility of a generalised blood-based test to detect cancer.
"Further clinical studies are required to evaluate the full clinic potential of the method."
The method was tested used tissue and blood samples from patients with different kinds of cancer which was compared to 31 healthy individuals.
Researchers now want to carry out further testing with a larger number of samples, are are hopeful that the method could be refined to distinguish the stage of the cancer.
Commenting on the study Paul Pharoah, Professor of Cancer Epidemiology at the University of Cambridge, said: "The test is promising, but it really needs to be applied from some carefully collected and characterised samples in order to be able to judge its potential usefulness as a diagnostic test.
"As it stands it is just one more technological innovation that may or may not be useful in the clinical setting."
Would anyone crually trust this test ?


Although he is nearing the half-century mark, Cleveland-born Neil Giraldo hasn't lost even one tiny molecule of his celebrated intensity and swagger. The chugging, churning onslaught of guitar that helped propel his musical and life partner Pat Benatar toward mega-hit status in 1979 and beyond remains unbowed in the new millennium. This is a man who loves to play and who loves to play hard. In honor of his birthday today, we've decided to feature an exclusive interview with the legend, as published in Guitar Player Presents 50 Unsung Heroes of the Guitar. Enjoy!
What's your main guitar at the moment?
I use GMP guitars. I don't have a Spyder model or anything like that, but they've made a few different guitars for me. I usually ask for P-90 pickups, but I have some humbucker models for live shows. You know, onstage with lighting rigs and dimmer racks and everything—well, P-90s aren't really happy with some of that kind of stuff. But normally, I go for P-90 models, and that's usually what I record with. I also ask for a Bigsby and locking tuners.
Onstage, I use a Line 6 Pod and a Line 6 Flextone combo. I like the two devices working together, because the Pod reacts a couple of milliseconds after you attack the note, which actually helps fatten up the sound a bit more. For effects, I go with the onboard models. I don't use any pedals. In the studio, I may use my Marshall combo. I crank the Master Volume and keep Volume at about 12 o'clock. If I need to drive the amp a little bit more, I stick in a Fulltone Full-Drive 2 to drive the front end a little harder. I don't use it as a distortion pedal—just as a preamp.
I use D'Addario strings. I go with .012–.058, sometimes .060. Pretty thick. I go with the highest G I can get that isn't wound, and I tune to Eb. If I do tune to E, I'll swap out the high stings for a .011 set, but I'll keep the heavy gauges on the low strings, because I like to hit the low strings pretty hard, and I don't want them to go out of tune.
To me, one of the most identifiable aspects of your style is your slightly snickered rhythm-guitar approach. It seems that you like to push and pull the groove and sometimes throw surprises into your rhythmic accents. Where did that come from?
I don't know, but I'm glad you picked up on it, because I love to play rhythm guitar more than anything. I love rhythm so much. I think it has to do with the fact that I'm a frustrated drummer. When I was a kid, I would play drums to Simon and Garfunkel records because they never really had any drums on them, and I would try to find a way to get inside the rhythms they did.
Another odd thing is that I could never figure out parts from records exactly the way they were played. I'd get, say, a Yardbirds song, and I could sort of learn it, but I'd end up putting my own spin—my own little parts—into the mix until it really didn't sound much like the parts on the record.
So you weren't exactly the best cat to pick for a cover band, then?
How do you conceptualize a groove for a song?
I think of the rhythm, the drums, the tempo, the swing, or the "roll," as I call it. But, again, I don't think about it too much. I just do it. And, you know, on all the records I've ever done, I've always kept the guitar and drums going down together at once. I would never, ever overdub my rhythm guitar. I'd have to play live with the drums to get my parts to work together.
Who are some of your favorite rhythm guitarists?
Pete Townshend—definitely. I also love Jimi Hendrix. When I would listen to his stuff on vinyl, I would skip over the solos because I didn't care about them. Give me any song on Axis: Bold as Love. Listen to that rhythm stuff!
You have a very aggressive rock-guitar sound, but it never seems to get in your lead singer's way.
Yeah. I don't know how to explain that. I don't know why that happens [laughs].
What I'm trying to create in arrangements is the song people want to hear. People want to hear the song, and they want to hear the singer. My job is to make sure it feels great, and that it's going right to their blood, and that it's going to rip their heart out.
From a guitar standpoint, what's the most important thing to ensuring a song rips someone's heart out when they hear it?
Your playing should really start accelerating so that when you listen to the end of the song, it sounds like the end of the song is coming. It shouldn't sound like the beginning. What worries me, with all the recording tools that people have, is that they will take a part they like—something that feels good—and paste it throughout the whole song. That's the part of the guitar thing you have to be really, really careful about. You shouldn't miss the idea that the end of the song should really be a little quicker and more intense than the beginning. The intensity level should be changing, and I don't think a lot of people understand that. It's about doing whatever it takes to move people and keep them involved in the song from start to finish.
Speaking of intensity, you haven't lost any fire from when I first saw you onstage back in 1980. Many players tend to cool off a bit with time. How have you kept up the enthusiasm and the energy?
I think, mainly, it was a change I made in my life. I was smoking three packs of cigarettes a day, drinking way too much Irish whiskey, and just living that lifestyle. You know—doing stuff to way too much excess. I finally said to myself, "Wait a second. I have children, and I'm getting too old for this. I've got to look hard at what I'm doing here. I've got to take care of myself." So I started a serious physical routine that I thought I'd never be able to do. I went from being able to run 20 feet to running six miles a day. Now, I can jump rope for 20 minutes straight. I lift weights.
I do all kinds of physical stuff. This has been going on for the last seven years, and I think it is what gives me the energy and the attitude. If I wasn't doing the exercise, I don't know if I'd still be able to be as physical and in-your-face as a player—and that kind of player is the player I still want to be.
Well, that mental approach seems huge. Perhaps some players start thinking, "Hey, I'm 50 years old—I can't be jumping up and down anymore. It's not fitting."I don't give a sh*t about that. I call it, "last man standing." Anybody who knows me knows that I'm relentless. If someone tells me I can't do something, I will do everything in my power to show you that I can. It's a philosophy I try to live by, and I try to instill it in my children, as well. My playing is no different, because the tone is in my hands and the attitude is in my heart, and I can't change that. Even though you may be getting old, unless something is physically affecting what you're able to do, you should stay pretty consistent performance-wise—as long as you're ruthless enough [laughs].
Do you feel you've gotten your due in the guitar-culture world, or do you care about that kind of stuff?
I did care for a while when I was younger. It doesn't matter to me now. In the mid-'80s, I was doing just about everything—arranging, producing, playing, and so on. It was really my band, but I don't think anyone knew that or gave me props for everything I was doing to help craft all the hits. The wife and myself were equal partners—we still are—but I didn't understand why management decided not to do anything to promote the band. But, you know, I get it, and right now it means very little to me whether audiences focus directly on my contributions. It's far more important that I do great work, and that somebody appreciates the great work— whether they know my name or not.
Everyone knows the legends – Hendrix, Page, Clapton, Beck, and all the other six-string giants – but the evolution of guitarcraft wasn't forged purely by über-famous players with large cultural footprints. Scores of lesser-known pioneers such as Tommy Bolin, Danny Cedrone, Tampa Red, and Sister Rosetta Tharpe contributed vast numbers of licks, riffs, solos, tones, compositions, techniques, and musical concepts that inspired generations of guitarists and advanced the art of playing guitar. Their stories are as critical to modern guitar music as is electricity or amplification. Any guitarist seeking to devise a unique and individual sound should study the wacky, off-kilter, unfamiliar, and criminally underutilized creative concepts of the unsung greats, straight from the pages of Guitar Player magazine. Available for purchase here.


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Q: Checkbox's checkmark rendered weird in IE (6-Edge) and checkbox is misplaced In my IE checkbox's checkmark rendered weird in all web pages. Now I am facing with a misplaced checkbox issue too, I am not sure the two things has to do something with each other. See the same page (ASP MVC) in Chrome and IE below.
IE:

Chrome:

* Edit, added *
The html code seems to be pretty correct, using bootstrap 3:

        <input data-val="true" data-val-required="The Keep me signed in field is required." id="KeepMeSignedIn" name="KeepMeSignedIn" type="checkbox" value="true">
        <input name="KeepMeSignedIn" type="hidden" value="false">
        Keep me signed in*

A: Yeah, I was getting similar placement issues when using the default MVC template for login (which seemed a little broken with bootstrap). I was getting weird margin/placement errors with the Remember Me checkbox.
In the end, I went for this:

      @Html.CheckBoxFor(m => m.RememberMe)
      @Html.DisplayNameFor(m => m.RememberMe)

Which ended up rendering nicely with bootstrap, as the label wraps the Checkbox. As this example shows:

      <input type="checkbox" name="RememberMe">
      Remember Me?

redpajama_set_name: RedPajamaStackExchange


text:
Split PoE into Several Modules - Possible Solution to Late Game Performance Issues?
By Aron Times
September 16, 2015 in Pillars of Eternity: General Discussion (NO SPOILERS)
Aron Times
Steam:arontimes
Hey folks, I was thinking about how PoE is different from other RPGs in that you can freely backtrack and finish earlier areas that you skipped. During my previous run, I went back to Act 1 to deal with a minor bad guy after learning a very significant secret late in Act 2. The weird thing is that the dialogue in this quest line assumes that I hadn't discovered the abovementioned secret yet, and I don't get to confirm a wizard NPCs suspicions about the current plot (which are accurate, even if she doesn't know the details). Also, my character talks as if he isn't a very experienced with his unique abilities yet, even though I've had two acts to get used to my special abilities.
Anyway, the fact that all of this data is still available even very late into the game suggests to me that the late game performance issues might be caused by the game keeping track of too much data. Could the solution to performance be to make the game more linear, i.e to split the different acts into separate modules? It's how it was done in Neverwinter Nights 1, where each chapter of the OC, as well as SoU and HotU were entirely self-contained modules. They were, in essence, separate games that your character gets imported to.
In PoE, there are four (five if you include the tutorial) plot bottlenecks. The references are intentionally vague to avoid spoilers:
0. Tutorial Campfire
1. Haunted Castle
2. Baldur's Gate
3. Trial of the Century
4. Leap of Faith
I'm thinking that maybe, after you clear the Haunted Castle, or maybe when you reach Baldur's Gate (since it takes very little time to reach Baldur's Gate after leaving the Haunted Castle), that your character is transferred to another module. Basically, you start over with a new game that starts at Baldur's Gate, as opposed to the first module which started at the campfire. All the irrelevant data left over from the previous act is gone. You'll still be able to backtrack to the first village, but it's not the same village from the previous module, and there might be changes based on your actions or lack thereof.
Alternatively, you can't backtrack, and each module is self-contained. This alternative might result in better performance in longer games as opposed to the first option.
Mechalibur
If it's keeping track of too much data, wouldn't one potential solution be getting rid of a lot of the data most players don't even care about?
Take buyback data for example. I've literally never used the buyback feature, but over the course of the game, yet it's probably keeping track of hundreds of sold items across a dozen or so merchants. Even if people like the option to buy stuff back, could we maybe only limit it to unique gear or something? I don't want to scroll through 20 fine arbalests when I'm going through a merchant's inventory :/
pi2repsion
As I haven't noticed any performance issues impeding my play, I personally don't see the need and am wondering what performance issues you are thinking of.
Just what is the problem you are trying to address?
Are you referring to how loading and saving takes longer time over the course of the game as more data accumulates? (And if so, just how long times are you battling with that you consider this an issue?)
EDIT: Just to be clear, I am not dismissing that you or others might be suffering from performance issues.
Edited September 16, 2015 by pi2repsion
When I said death before dishonour, I meant it alphabetically.


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Blue House asks for a passed bill to be revised
The Blue House is livid about the so-called Chung Ui-hwa bill that eases requirements to hold a hearing at a National Assembly standing committee, saying the legislation could "immobilize" the administration. It demanded the bill be revised as soon as the next parliamentary session kicks off.
President Park Geun-hye has not signed the bill into law.
On Thursday, the final plenary session of the outgoing National Assembly passed a bill that would allow lawmakers to open an extra voting session in August every year and standing committee meetings during the third weeks of March and May, when the legislature is not in session.
The bill, proposed by National Assembly Speaker Chung Ui-hwa, also enables a hearing to take place on the request of more than one third of lawmakers on a standing committee, or when the committee approves the need. That concept is being referred to as "365-day hearings." A standing committee will be able to call a hearing and key witnesses for questioning without having to go through the administrative hassle of launching an investigation.
While the Park administration did not give an official position on the bill, Blue House officials had said it needed a more thorough review.
The bill, though approved by the House Steering Committee and the Legislation and Judiciary Committee, was opposed by the ruling Saenuri Party amid concerns this will give the legislature excessive control over the administration. Although a hearing at a standing committee was possible in the past, calls for hearings were often rejected by the majority party.
However, some Saenuri lawmakers who are not loyalists of President Park, including Chung, as well as independent lawmakers who left the Saenuri before the April general election supported the change.
It was passed Thursday with 117 in support, 79 opposed and 26 abstentions of 222 lawmakers who took part in the vote.
"If a standing committee holds a hearing on every single issue, how can any public servant work with any sort of conviction?" said one Blue House official asking for anonymity. "If this enables the reinforcement of the National Assembly's ability toward deliberation, it may be justified, but it can enable the legislative branch's authority to become too strong. Such hearings can be used for the purpose of creating political strife, and this can render the administration powerless."
The official continued, "This is a situation that has to be revised when the new National Assembly session opens."
Some Blue House officials have even suggested the president exercise her veto power over the bill.
But another Blue House aide pointed out, "There are a lot of issues that need to be reviewed for there to be a veto. There are many differences, in this case, to when the president vetoed the revision to the National Assembly Act."
Last June, President Park vetoed a bill that strengthened the National Assembly's authority to demand a change in administrative legislation, such as presidential decrees and the prime minister's ordinances. Park at that time claimed the revision was unconstitutional and violated the separation of powers between the executive and legislative branches.
Jeong Yeon-guk, a presidential spokesman, told reporters Friday, "Many problems have been raised about the revision to the National Assembly Act, and I will give updates after further review."
However, Woo Sang-ho, floor leader of the main opposition Minjoo Party of Korea, vowed in a party meeting, "The Minjoo Party, even if a standing committee hearing is enabled through a request of more than one third of enrolled lawmakers, will not abuse this right."
Ahn Cheol-soo, co-chairman of the People's Party, lauded the National Assembly Act reforms, adding, "From the next National Assembly, regular hearings will be possible, and meaningful change may be shown to the people."
BY SHIN YONG-HO, SARAH KIM [kim.sarah@joongang.co.kr]


Seeker & Servant, a personal favorite of mine, are knee deep in the recording process for their new Ep that'll be released soon. The group has a Patreon set up to help raise funds for the recording of this project and it's release. Consider helping them out. Listen to their latest song, "Fear Of Missing Out", below.
2 Comments on "Seeker & Servant to Release New Ep Soon"


Posted: February 13, 2018 4:15 p.m.
The Respectful University Policy promotes a supportive environment for everyone who studies, works, lives at, or visits our institution. Image provided by External Relations.
A message from University President and Vice-Chancellor Dr. Vianne Timmons.
In the wake of the verdict in the Gerald Stanley/Colten Boushie case, there has been a great deal of racist commentary – in social media and other forums, as well as in person – directed at Indigenous people in Saskatchewan and elsewhere. These comments should be upsetting to all of us, but they are particularly disturbing for Indigenous people in communities across our province, including students, faculty and staff at our University.
The people making such comments are perpetuating a history of racism, discrimination and marginalization that has had a traumatic and longstanding effect on the lives of countless Indigenous people in Canada. This has to stop, and I would like to take this opportunity to remind everyone that it will not be tolerated on our campus.
Our Respectful University Policy may be found here. The University will do everything in its power to uphold and enforce this policy for the benefit of everyone who studies, works, lives at, or visits our institution. Should anyone experience or witness racism, discrimination or harassment of any kind at our University, I encourage you to report it to the Coordinator, Respectful University Services.
At all times, and especially at a time like this, it is incumbent on all of us to treat one another with the respect and dignity that each of us deserves. I am encouraged by the fact that I have seen our students, faculty and staff reach out to each other – and to others in the larger community – with meaningful words of support and compassion.
I often say that universities should not reflect the world in which we live, but should instead reflect the world in which we WANT to live. In everything you do at the University of Regina, and in your life away from this institution, please make every effort to foster a society in which all people feel safe, know that they belong, and can live with dignity and pride alongside their friends, colleagues and neighbours.


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AXA Insurance reported underlying earnings of £77m in the first half of 2008, up from £30m for the same period in 2007.
The insurer, which also announced up to 500 redundancies, reported a rise in total revenues to £1,108m, from £1,160m, and a combined operating ratio of 99.1%.
Philippe Maso, chief executive of AXA Insurance, said the insurer's revenues were stable but admitted that growth in commercial lines had been slower than expected. He attributed this to continuing soft rates, adding: "People talk about something happening in the market in 2009 – the sooner the better!" AXA Insurance's total revenue for commercial lines was £570m, compared to £536m in personal lines.
Marsh saw its revenue grow by 8% in the second quarter of 2008. The broker plans to cut a further 900 jobs. In the three months to 30 June, Marsh's total revenue was $1.2bn (£626m), compared to $1.1bn at the same period last year.
Its six-month revenues were also up 8% to $2.4bn. Revenues at reinsurance broker Guy Carpenter for the same period were down to $477m from $509m. Dan Glaser, chairman and chief executive of Marsh, said: "I am pleased with the performance of Marsh for the second quarter. We have a long way to go but our results this quarter reflect strong progress on many fronts."
Marsh & McLennan, the parent company of broker Marsh and Guy Carpenter, reported a net loss of $145m due to a goodwill impairment charge of $540m in the first six months of the year, compared with net income of $445m last year.
In its second quarter results to June 30, 2008, consolidated revenue was $3bn, up 9% from the second quarter of 2007. Revenue growth was 4% on an underlying basis.
Fortis Insurance UK reported pre-tax profit of £43.3m in the first half of the year, more than double its profit in the same period last year. Gross written premiums fell marginally from £382.9m last year to £365.3m in the first six months of 2008, which reflected a strong stance on rates.
Barry Smith, chief executive of Fortis UK, said the company would build on its success by expanding its product portfolio and moving into new lines of business. He said: "We are very clear that we need to expand the width of products and an area we will focus on will be commercial lines." Commercial lines currently represent around 10% of Fortis' business.
The company said its strong results were driven by a focus on profitable underwriting and cost control. The 2007 performance was also severely impacted by last summer's severe flooding. Fortis reported growth across its retail business, comprising RIAS and OutRight, with commission income rising 3.4% in the first half of the year to £43.3m.
Benfield saw its pre-tax profits fall 5% for the six months to 30 June 2008. The reinsurance broker reported profit before tax of £87.7m, down 5% from £92.3m at the same period last year. Group revenue also fell to £233m, a decrease of 4% to £242.7m. The group trading margin increased to 43.6%, from 42% in the first half of last year.
The broker blamed the expected soft reinsurance market conditions for the loss in revenue. However, it said new business growth, particularly in Europe and global facultative solutions, increased revenue in its international division by over 6%. It added that within the marine, energy and power sector, revenue grew by a further 30%.
personal lines rose by 7% and the transportation division saw income increase by 23%. Specialty wholesale construction income increased by 15%, while financial risks and private medical rose 12% and 23% respectively.
The company praised its "consistently high renewal rates" and retaining key accounts as well as adding new business.


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PEEK A BOO PRISM View MERCY RELIEF Current HUB TO HUB View MEYDAN GROUP LLC View ICON COMMUNICATION View EMERSON PROCESS MANAGEMENT View TIGA RESIDENCES View PARRY AVENUE View
INTERIOR - EXHIBITION
MERCY RELIEF
Mercy Relief launched an exclusive photographic exhibition – the first of its kind in Singapore – to promote the work they do around the world. Our design was inspired by the singular building material that the survivors used to rebuild their life and by the photographers who were in Aceh and Sri Lanka volunteering with Mercy Relief missions. The exhibition was dedicated to the victims and survivors of the Asian tsunami disaster. Titled 'Glimpses of Light', the pictorial works in this exhibition have captured the resilience, hope and optimism shown by the tsunami survivors. It is also a platform for the public to share, learn and heal from this calamity and pay tribute to the survivors.


Elselijn Kingma, associate professor of philosophy at the University of Southampton, has been awarded a 1.2 million Euro (approximately $1.35 million) European Research Council (ERC) Research Grant for her work on the metaphysics of pregnancy.
The research grant allows Kingma to appoint a research team to address these and other questions in the next 5-years.
To start the process of rewriting the legal, social and moral language we use to classify ourselves and our actions, so that it is compatible with and can accommodate the nature of pregnancy.
The project is named "Better Understanding the Metaphysics of Pregnancy." That's right: BUMP. That is some award-winning acronymizing right there.
You can read more about BUMP here. Postdoctoral and PhD positions associated with the project will soon be advertised.


Already assured of her best finish at the tournament, Yu Mengyu will also have confidence and momentum on her side when she competes for a place in the final of the annual International Table Tennis Federation (ITTF) World Tour Grand Finals today.
The world No. 13 Singaporean beat Japan's Sayaka Hirano in the women's singles quarter-finals 11-5, 5-11, 11-6, 11-7, 11-8 yesterday, earning a place in the last four of the prestigious year-ender.
She will play South Korea's No. 12 Seo Hyo Won next.
The defensive specialist took out Singapore's Feng Tianwei in their quarter-final encounter, beating the top seed 13-11, 11-3, 11-8, 6-11, 11-8.
Feng has traditionally been troubled by defensive specialists such as Seo, but she had beaten the South Korean the last time they met at the World Team Table Tennis Championships in April.
According to Singapore Table Tennis Association high performance manager Eddy Tay, she had just returned to training after injuries to her knees and wrist, and that had to be taken into consideration.
"She came back to training not long ago and has not had a lot of time training with choppers since then," he told The Straits Times.
This is also the first singles competition that Feng is competing in where new balls, slightly bigger and made of a different material, are being used.
"You need time to get used to the new balls, and Tianwei has also not fully recovered," Tay added.
Yu, meanwhile, is playing with confidence, having already taken out Germany's third seed Han Ying, also a defensive player, in the round of 16.
Said Tay: "The win over Han Ying was a confidence booster for Mengyu. A lot of people didn't expect her to upset Han Ying, especially since Mengyu had a long-drawn waist injury recently too.
"She controlled the rhythm and had the upper hand throughout her match against Sayaka Hirano, so hopefully she will be able to produce the same level of performance in the semi-finals."
Feng and Yu also featured in the doubles semi-finals yesterday, but were beaten 5-11, 11-8, 11-6, 11-4, 9-11, 11-8 by Japan's Miu Hirano and Mima Ito.


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http://tinyurl.com/y3ogdf73
'EU needs Turkey more than Turkey needs EU' - Erdoğan
Turkish President Recep Tayyip Erdoğan warned the European Union that continuing to delay Turkey's accession process would damage the EU's founding principles during a reform action group meeting with ministers and senior advisers on Thursday.
"The European Union needs Turkey more than Turkey needs the EU", Erdoğan said at the meeting on May 9, the EU's "Europe Day", commemorating the 1950 Schuman Declaration, an important landmark for the creation of a united European community.
"Without our country, it will be impossible for the EU to ward off existential threats like Islamophobia, cultural racism, discrimination and opposition to migrants that undermine its founding principles", the Turkish president said.
The EU project has been placed under strain by a resurgence of nationalist movements in its member states, with opposition to migrants, and particularly the wave of Muslim refugees from Syria, a common feature of the rising right wing.
Erdoğan framed Turkey's stalled accession in this context, placing the blame on "discriminatory and exclusionary policies" he said had unfairly targeted his country.
Negotiations for full membership began in 2005, but Turkey made slow progress towards meeting the accession criteria.
In the aftermath of a coup attempt that Erdoğan's Justice and Development Party (AKP) government survived in July 2016 the EU halted the process, citing serious concerns about Turkey's human rights and rule of law.
Thousands of public officials, soldiers, journalists and legal professionals were purged or arrested during a two-year state of emergency that followed the coup attempt.
The AKP said these were a necessary measure to weed out supporters of the Gülen religious movement it says orchestrated the coup attempt. However, critics have said Erdoğan's government used the emergency powers to quash dissent and cow political opposition.
At the Thursday meeting, Erdoğan accused EU states of failing to show solidarity with his country, referring to countries that had granted asylum to soldiers accused of participating in the coup attempt or to alleged members of the Gülen organisation.
In 2018 the Greek Supreme Court has denied Ankara's requests to extradite eight Turkish servicemen who sought refuge in Greece after the July 2016 coup attempt.
The Turkish president also noted that the state of emergency had ended in 2018, and commissions formed under the new executive presidential system had worked through a significant portion of the long backlog of appeals related to arrests and dismissals it had brought.
Erdoğan said Turkey was determined to continue seeking full membership of the EU despite opposition, and added that his government would take steps to improve its citizens' rights and freedoms "if necessary, according to what we'll call the Ankara criteria if not the Copenhagen criteria".
However, the Turkish president did not address the diverse concerns that brought members of the European Parliament to vote in favour of a recommendation to formally suspend accession negotiations last February.
That vote referred to a European Commission report that warned of "serious backsliding" in Turkey's judiciary, freedom of expression and public administration, three of seven broad criteria for accession.
"Although Turkey has several times reiterated its commitment to accession, the corresponding implementing measures have not been taken, and since 2016 and the failed military coup, the government has taken steps in contradiction with previous engagements, especially regarding the respect of human rights", the report said.
Numerous ranking EU officials and MEPs including European Commission chief Johannes Hahn condemned a decision by Turkey's Supreme Election Council this week to cancel and rerun the mayoral election in Istanbul, which had been won on March 31 by an opposition candidate.
Under pressure, Turkey struggles to repair ties with EU
Red lines and fair solutions in Greece-Turkey talks


On January 25, 2019 a party of six snowmobilers and two snowbikers from Monticello, Utah were riding in Dark Canyon, in the La Sal Mountains of southeastern Utah. At approximately 4:00 p.m. one member of the party (rider 1) climbed to a steep, high pass with an easterly aspect at 11,974', between Mount Mellenthin and a sub peak of Laurel Mountain. Three other members of the party followed with riders 2, 3 veering off to the looker's left, while rider 4 took a straight line up a narrow gully. Two snowbikers (riders 5, 6) were lower to the left, under a group of trees beneath the SE face of Laurel Mountain. Riders 7, 8 were riding beneath a small knoll out of sight of the rest of the group.
Rider 1 reported feeling a collapse as he looked down from the pass, and he saw the slab fail and propagate outward onto the entire NE face of adjacent Laurel Mountain. Rider 4, who was headed up the gully, took the force of the avalanche head on from approximately 600' below where the slide had initiated. Riders 2, 3 reported last seeing him in the avalanche at approximately 11,350'. Riders 2, 3 rode out to safety on the looker's left side.
When the avalanche stopped, the party regrouped near the toe of the debris, did a head count, and realized that rider 4 was missing. Members of the party attempted a search. Between them they had 3 beacons, two shovels, and one probe. They believed rider 4 was wearing a beacon, and reported hearing a "ping." They uncovered a snowmobile near the toe of the debris, and located a helmet, but not the victim. Rider 5 left the scene to call 911, and San Juan County dispatched a Classic Air Medical helicopter, but as darkness was falling, further search and rescue efforts were suspended until the following morning.
Photo illustrates the position of party members at the time of the avalanche.
Coordination efforts between San Juan and Grand counties, and the USFS Utah Avalanche Center began around 6:00 p.m. with the San Juan County Sheriff's Office in command. Plans for search and rescue efforts the following day included an aerial reconnaissance to determine scene safety, and contingency plans for avalanche mitigation, and professional avalanche rescue dogs and handlers from Wasatch Backcountry Rescue, with support from the Utah Department of Public Safety.
At 7:00 a.m. on January 26, a reconnaissance flight determined that avalanche mitigation work would be required to render the scene safe for search operations. While waiting for the arrival of the bombardier team, a DPS helicopter flew over the debris with a RECCO unit and a Long Range Receiver (LRR). A RECCO unit is a specialized search device for people with a RECCO reflecting chip built into their clothing. The LRR detects signals from avalanche beacons. They reported a signal from the LRR near the last point scene and dropped a flag. Avalanche mitigation work produced one very large avalanche but the debris did not over run the original avalanche debris. This work was completed at 2:35 p.m. and dog teams were inserted near the last point scene at 3:10 p.m. A beacon search was performed with one of four searchers receiving an erratic signal. A dog alert near the signal prompted a probe search of the area. Meanwhile, the other dog and handler continued down the debris. At 4:20 p.m. the second dog alerted near the toe of the debris, and at 4:35 a positive probe strike was made. The body was recovered about 150 feet uphill of the victim's snowmobile. He was buried 2-3 feet deep. He was not wearing a beacon, but had one turned off in his pack.
Google image illustrates the locations of the point last seen point, the victim's snowmobile, and final burial point.
Photo illustrates site of victim's burial with pack for scale.
Located on the east side of the La Sal Mountains, upper Dark Canyon is a high alpine cirque surrounded by the prominent peaks of mounts Mellenthin, Laurel, and Peale. The area is remote and generally visited only by snowmobilers. Like most alpine areas in the La Sals, upper Dark Canyon is comprised of steep, open, avalanche terrain, punctuated with cliff bands and steep convexities. The slope that avalanched extended from a southeast facing saddle below the southwest ridge of Mount Mellenthin, up to the summit of northeast facing Laurel Mountain.
Early October storms brought 2'-3' of snow to the La Sal Mountains above 10,000'. Snow remained into winter on E-N-NW aspects. A melt freeze crust of varying thickness developed with facets underneath. At lower elevations, melt freeze snow, or moistened and refrozen facets made up the entire base layer.
Conditions then remained dry until two storms between November 30, and December 2, brought up to 30" of snow. Most of December was dry, and the snow settled and faceted to the point that it was possible to trigger loose avalanches down to the October melt freeze crust later in the month.
Over Christmas, 6-8" of snow fell accompanied by moderate to strong SW winds. Natural avalanche activity occurred during this period, both as loose snow sluffs, and as wind slabs failing on the faceted interface above the October crust. This kicked off an active weather pattern with regular storms, and a cumulative Snow Water Equivalent (SWE) over the next 30 days totaling 5.7". Avalanche conditions throughout the period were very sensitive with widespread collapsing, shooting cracks, and frequent natural avalanches. Two Avalanche Warnings were issued, and a major cycle occurred on January 18. Natural avalanches also occurred on January 16, 21, and 24.
The snowpack can be broken down into three major events – October snow at the base of the pack, early December snow as a faceted weak layer, and storms since December 26, forming a cohesive slab 3'-4' deep on top.
SWE for past 34 days leading up to the accident.
Winds for past three days leading up to the accident.
Due to the magnitude of the slide, inaccessibility of the crown, and circumstances surrounding scene safety and the timing of the search, it wasn't possible to do a snow profile. It is believed that like most other avalanches that have occurred since December 26, that this avalanche failed on a persistent weak layer of faceted snow that formed in early December. Wind drifts deposited over a period of days prior to the accident likely contributed to the instability.
The La Sal Mountain avalanche forecast for the day rated the danger as Considerable, with human triggered avalanches involving wind drifted snow, and buried persistent weak layers likely on steep slopes facing NW-N-E, on mid and upper elevation terrain. Travel advice recommended sticking to wind sheltered, low angle terrain and meadows.
We aim to learn from accidents like this and in no way intend to point fingers at victims. All of us at the Utah Avalanche Center have had our own close calls and know how easy it is to make mistakes including forgetting to turn on our avalanche beacon.
Please carry appropriate rescue gear - beacon, shovel, probe, and know how to use it.
Check the avalanche forecast and choose terrain appropriate for conditions.
Keep track of your partners, and only expose one person to danger at a time.
We would like to thank all of those involved in the search and recovery effort including San Juan and Grand County Search and Rescues, Classic Air Medical and the Utah Department of Public Safety, Snowbird, Wasatch Powder Bird Guides, and professional dog teams from Wasatch Backcountry Rescue, Alta, and Park City ski patrols.


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Page 219 - Gallery Design of Coloring Pages | Connecticuttrafficcourts Print Your Own Coloring Book. Cartoon Pictures Of Chicken. Pictures Of Dolphines.
collection of galleries from Coloring Pages like Print Your Own Coloring Book. Cartoon Pictures Of Chicken. Pictures Of Dolphines. and other designs you might like Coloring Sheet Printables. Cute Baby Animal Coloring Pages. Horse Color Sheet. Blue Clues Characters. Sea Animal Coloring Page. Photo Of Fruits. Ancient South America Map.


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Q: Is there a way of adding a footnote to a gtsummary table that will persist after merging with another table? I have two tables 'tbl' that I have merged. I want to add a footnote to the final merged table, but it doesn't work for me.
I've tried both adding it to the individual tables like so:
library(gtsummary)
packageVersion("gtsummary")

tbl <-
  glm(response ~ grade, trial, family = binomial) %>%
  tbl_regression(exponentiate = TRUE) %>%
  add_glance_table(include = nobs) %>%
  add_n(location = c("label", "level")) %>%
  modify_footnote(all_stat_cols() ~ "models")

And it works for the individual tables, but as soon as I merge them the footnote disappears.
I've tried adding it to the merged table like so, but without success:
tbl_final <-
  tbl_merge(list(tbl, tbl), tab_spanner = c("**Men**", "**Women**")) %>%
modify_footnote(all_stat_cols() ~ "Models")

How should I go about it?
Thanks!

A: You are using all_stat_cols(), which is intended for use with tbl_summary() objects, rather than tbl_regression() tables. Use the show_header_names() function to print the column names to be able to place the footnotes on the columns you need, e.g. modify_footnote(estimate ~ "Odds Ratio")


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Handel - Acis and Galatea
Handel - Acis and Galatea The Sixteen & Harry Christophers
Label: CORO
Subgenre: Vocal
Artist: The Sixteen & Harry Christophers
Formats & Prices
Format Price In Cart Buy
FLAC 96 $ 14.90
George Frideric Handel (1685 - 1759): Acis and Galatea, HWV 49a, Act I:
1Acis and Galatea, HWV 49a, Act I: Sinfonia03:20
2Acis and Galatea, HWV 49a, Act I: O, The Pleasure Of The Plains! (Chorus)05:40
3Acis and Galatea, HWV 49a, Act I: Ye Verdant Plains (Galatea)00:44
4Acis and Galatea, HWV 49a, Act I: Hush, Ye Pretty Warbling Quire! (Galatea)06:11
5Acis and Galatea, HWV 49a, Act I: Where Shall I Seek The Charming Fair? (Acis)03:31
6Acis and Galatea, HWV 49a, Act I: Stay, Shepherd, Stay! - Shepherd, What Art Thou Pursuing? (Damon)04:41
7Acis and Galatea, HWV 49a, Act I: Lo, Here My Love - Love In Her Eyes Sits Playing (Acis)06:20
8Acis and Galatea, HWV 49a, Act I: Oh, Didst Thou Know The Pains - As When The Dove (Galatea)05:57
9Acis and Galatea, HWV 49a, Act I: Happy We! (Galatea, Acis)02:51
Acis and Galatea, HWV 49a, Act II:
10Acis and Galatea, HWV 49a, Act II: Wretched Lovers! (Chorus)04:05
11Acis and Galatea, HWV 49a, Act II: I Rage — I Melt — I Burn! (Polyphemus)01:13
12Acis and Galatea, HWV 49a, Act II: O Ruddier Than The Cherry (Polyphemus)03:02
13Acis and Galatea, HWV 49a, Act II: Whither, Fairest (Polyphemus, Galatea)01:02
14Acis and Galatea, HWV 49a, Act II: Cease To Beauty To Be Suing (Polyphemus)05:18
15Acis and Galatea, HWV 49a, Act II: Would You Gain The Tender Creature (Coridon)04:57
16Acis and Galatea, HWV 49a, Act II: His Hideous Love - Love Sounds Th'alarm (Acis)04:51
17Acis and Galatea, HWV 49a, Act II: Consider, Fond Shepherd (Damon)06:34
18Acis and Galatea, HWV 49a, Act II: Cease, Oh Cease (Galatea)00:25
19Acis and Galatea, HWV 49a, Act II: The Flocks Shall Leave The Mountains (Galatea, Acis, Polyphemus)02:18
20Acis and Galatea, HWV 49a, Act II: Help, Galatea! (Acis)01:16
21Acis and Galatea, HWV 49a, Act II: Mourn, All Ye Muses! (Chorus)03:11
22Acis and Galatea, HWV 49a, Act II: Must I My Acis Still Bemoan - 'Tis Done! (Galatea, Chorus)04:18
23Acis and Galatea, HWV 49a, Act II: Heart, The Seat Of Soft Delight (Galatea)03:48
24Acis and Galatea, HWV 49a, Act II: Galatea, Dry Thy Tears (Chorus)03:11
Info for Handel - Acis and Galatea
Handels pastoral opera is a tale of love, tragedy and liberation. The libretto by John Gay, based on Ovids Metamorphoses (book XIII), tells of the eternal love between the mortal shepherd Acis and goddess Galatea and how it is doomed by the jealous cyclops Polyphemus. Handels music beautifully demonstrates the pain and love in such beautiful, dramatic choruses as Wretched lovers! and the grief felt by Galatea in Must I my Acis still bemoan. Staying true to the premiere in 1718, just five singers and nine instrumentalists feature on this intimate recording.
Jeremy Budd, Tenor (Acis)
Grace Davidson, Sopran (Galatea)
Mark Dobell, Tenor (Damon)
Simon Berridge, Tenor (Coridon)
The Sixteen
Harry Christophers, Dirigent
The Sixteen & Harry Christophers
Royal Welcome Songs for King Charles II Volume II
The Call of Rome
Royal Welcome Songs for King Charles II Volume III
An Old Belief
A Meditation
Byrd: Psalmes, Songs and Sonnets (1611)
Jeremy Budd
Born in Hertfordshire, Jeremy started out as a chorister at St Paul's Cathedral in London before going on to study at the Royal Academy of Music. Since finishing his studies he has been much in demand on the concert platform predominantly for his Baroque repertoire. Jeremy has worked with many of the foremost conductors in this field including Sir John Eliot Gardiner, Harry Christophers, Paul McCreesh, John Butt, Bernard Labadie and Jeffrey Skidmore.
Notable performances have included a tour of Monteverdi's Vespers of 1610 with Harry Christophers and The Sixteen, an abridged performance of Bach's St Matthew Passion in collaboration with Streetwise Opera and The Sixteen, the Evangelist in Bach's St Matthew Passion at Symphony Hall with Jeffrey Skidmore and Ex Cathedra, Monteverdi's Madrigals with Jonathan Cohen and Arcangelo in Saffron Hall, Purcell's King Arthur with Paul McCreesh and also a programme of Purcell Odes in the Wigmore Hall. Recently Jeremy has also performed Gibbons' Verse Anthems with Fretwork and toured Bach's Christmas Oratorio with Masaaki Suzuki and the Orchestra of the Age of Enlightenment.
Grace Davidson
is an English soprano who specialises in the performance and recording of Baroque music. She won the Early Music Prize while studying singing at the Royal Academy of Music. Since then, she has worked with leading Baroque ensembles of our day, singing under the batons of Sir John Eliot Gardner, Paul McCreesh, Philippe Herreweghe and Harry Christophers. Her discography includes a decade of CDs with The Sixteen, many of which feature her as soloist and include Handel's Jephtha (as Angel) and Dixit Dominus, Monteverdi's Vespers of 1610 and 'Pianto della Madonna' from the Selva morale e spirituale and Bach's Lutheran Masses. She has also recorded Fauré's Requiem with the London Symphony Orchestra on the LSO Label and her Pie Jesu was described as 'matchless' by Richard Morrison on BBC Radio 3's Building a Library.
Mark Dobell
Originally from Tunbridge Wells in Kent, Mark Dobell was a choral scholar of Clare College, Cambridge, where he read Classics. He later studied as a postgraduate at the Royal Academy of Music, and was awarded the Clifton Prize for the best final recital.
Mark has worked as a soloist all over the world with renowned conductors including Harry Christophers, Sir John Eliot Gardiner, Sir Roger Norrington and Sir James MacMillan. His extensive concert and oratorio repertoire includes many of the major works of Handel, Bach and Mozart, as well as pieces by composers as varied as Monteverdi, Haydn, Mendelssohn, Britten, Jonathan Dove and Karl Jenkins.
Simon Berridge
was born in Hertfordshire and went on to pursue his music studies at Trinity College, Cambridge. He subsequently studied voice as a postgraduate at the Royal College of Music.
Simon has worked with many of the leading British ensembles including The Sixteen. He has also worked with several European ensembles including Collegium Vocale of Gent and Les Arts Florissants.
His solo performances have included Messiah with the Orchestra of the Age of Enlightenment, Monteverdi's Vespers of 1610 at the BBC Proms and Edinburgh Festival, Bach's Magnificat in the Queen Elizabeth Hall, Handel's Israel in Egypt in the Covent Garden Festival with The Sixteen, Bach's St Matthew Passion in the London Handel Festival and the St John Passion (Evangelist and arias) performed live on Spanish Radio in the National Auditorium.
Simon's operatic roles have included 'Sandy' in The Lighthouse by Peter Maxwell Davies, 'The Madwoman' in Curlew River by Benjamin Britten, and the 'Auctioneer' in The Rake's Progress.
stands among today's great champions of choral music. In partnership with The Sixteen, the ensemble he founded almost 40 years ago, he has set benchmark standards for the performance of everything from late medieval polyphony to important new works by contemporary composers. His international influence is supported by more than 150 recordings and has been enhanced by his work as Artistic Director of Boston's Handel and Haydn Society and as guest conductor worldwide.
The Sixteen's soundworld, rich in tonal variety and expressive nuance, reflects Christophers' determination to create a vibrant choral instrument from the blend of adult professional singers. Under his leadership The Sixteen has established its annual Choral Pilgrimage to cathedrals, churches and other UK venues, created the Sacred Music series for BBC television, and developed an acclaimed period-instrument orchestra. Highlights of their recent work include an Artist Residency at Wigmore Hall, a large-scale tour of Monteverdi's Vespers of 1610, and the world premiere of Sir James MacMillan's Stabat mater; their future projects, meanwhile, comprise a new series devoted to Purcell and an ongoing survey of Handel's dramatic oratorios.
Harry has served as Artistic Director of the Handel and Haydn Society since 2008. He was also appointed as Principal Guest Conductor of the City of Granada Orchestra in 2008 and has worked as guest conductor with, among others, the London Symphony Orchestra, the BBC Philharmonic, the San Francisco Symphony Orchestra and the Deutsches Kammerphilharmonie. Christophers' extensive commitment to opera has embraced productions for English National Opera and Lisbon Opera and work with the Granada, Buxton and Grange Park festivals. He was appointed a CBE in the Queen's 2012 Birthday Honours for his services to music. He is an Honorary Fellow of Magdalen College, Oxford, as well as the Royal Welsh College of Music and Drama, and has Honorary Doctorates in Music from the Universities of Leicester, Canterbury Christ Church and Northumbria.


Join us anytime between 11:00 a.m. and 4:00 p.m. for stuffing and sealing envelopes.
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text:
Opinion Front End
Asset allocation: Conviction confliction
Published on: Friday, December 01, 2017
As we drift towards the end of the year, conferences seem to be full of panels on asset allocation for the 12 months ahead: sometimes a bold investor will go so far as to say what they invest in themselves; sometimes that's a surprise.
Hou Wey Fook, DBS
At a recent DBS/Bloomberg event in Singapore, DBS's chief investment officer for wealth management, Hou Wey Fook, made various sensible-sounding calls about where people should put their money and spoke of the virtues of Singapore real estate investment trusts.
How much of his own money, he was asked, does he put in this niche segment? "75%," he said.
Some 75% of all of his wealth is in Singapore Reits? He confirmed it.
"Tax free," he said, by way of explanation (dividends are not taxed in Singapore, and Reits are all about the dividends).
Considering in the same presentation he advised investors to put 50% of their money into equities, and only 25% of their global equities into Asia, and some of that into tech/Chinese financials/Chinese construction, it's fair to say he is pretty overweight Singapore Reits relative to his own advice.
Still, it's good to see a CIO with conviction.
DBS branch closure: A bridge too far


text:
Brønnøy é uma comuna da Noruega, com 1 039 km² de área e 7 565 habitantes (censo de 2004).

Comunas da Noruega

redpajama_set_name: RedPajamaWikipedia


Custom House Architects, Residential Designer: terms used to describe what they do by the public.
(C)Copyright 2009 Rand Soellner, All Rights Reserved Worldwide.
view from one of Rand Soellner's home design projects - 2nd floor Den. Custom house architects always try to create imagible spaces. (C)Copyright 2006-2010 Rand Soellner, All Rights Reserved Worldwide.
Custom house architects creating homes for clients who want something special, typically for a special building site with outstanding views. This is where custom house architects enter the picture. These residential designers create homes custom-tailored to your lifestyle and your project site. The skills necessary to accomplish this are considerable. Who else can turn words and photos of your acreage into an amazing home that satisfies your every dream and desire?
Custom homes are designed by custom house architects. This requires excellent listening skills. Taking notes is important as well, so that you have a record of what people want. There are normally a few questions as well. Certain notions should be questioned, as some early client desires may in fact be far costlier than they ever imagined, or not practical. It is the architect's job to point these situations out to the client. It does no good to say yes today, when you know that down the road someone will provide the information that changes the project direction. It is best to discuss these pieces of information as early as possible. Custom house architects need to be open and honest with their clients, even when it may not be politically expedient.
luxurious porte-cochere at the front entrance of one of Rand Soellner's estate home projects. Custom home architects try to design convenient and appropriate imagery for the home's appearance – for your "face to the World." (C)Copyright 2006-2010 Rand Soellner, All Rights Reserved Worldwide.
Custom house architects know what is available for your home.
Custom house architects are probably one of the most current-knowledge professionals on the planet, when it comes to what goes into your home. These are the people that plan not only how your home is arranged, but what technologies, materials and systems go into it. While it is really not the job of custom houe architects to specifically indicate the cost of your home (that is the job of the building contractor), custom house architects do generally know the relative cost of one system or material over another. Sharing this information with clients is a good thing, so that they understand, at least generally, the economic implications of their decisions.
Custom house architects should have specifications.
Custom house architects like Rand Soellner have detailed specifications that offer a range of Owner Optional Upgrades. This assists clients in having contractor bid pricing on a host of options. This permits Soellner's clients to make choices as to the quality and quantity of numerous options, which allows the client to be the one making the ultimate choice of how much their home will cost, based on their choices. For instance, the decking on the porch below was proposed as pressure treated # Southern Yellow Pine, which is a very durable and economical typical choice. There was an upgrade option for ipe, which is a South American "iron" wood that is so dense that it does not float in water. Ipe is quite a bit more expensive than less special woods like p.t. SYP (Southern Yellow Pine). In this particular case, the custom house architects made sure that he client was aware of this added cost. The client understood, and found the additional cost acceptable for the increased beauty and durability of the installation. You see, ironwood looks like fine, furniture grade mahogany. It requires yearly oiling and cleaning, also which the owner found acceptable. Therefore, the client paid for what he wanted, taking responsibility for the increased cost and accompanying quality that he now enjoys. Custom house architects skilled in these matters provide this top level service to help their clients achieve their financial versus quality objectives.
Custom house architects provide options.
Custom house architects can employ the above technique on virtually any feature, system and material choice desired. Rand Soellner provides a special specification sheet with about 100 options like the one cited herein. This gives his clients a tremendous amount of flexibility to make choices up or down in terms of quality and cost, to suit their desires. Soellner has taken the care to prepackage these choices into 4 main options: his Valley package, Foothills package, Mountain package and Mountaintop package. The higher you go up Soellner's mountain-themed packages, the higher the quality and the greater the investment. Custom house architects like Soellner have provided a great deal of flexibility and control for their clients with this sort of pre-planning.
Outdoor living spaces are important to Rand Soellner and his clients. Custom house architects should consider the outdoor living spaces around their clients' homes as extensions of their interior space. This is just one of Rand Soellner's homes' outdoor living areas. (C)Copyright 2006-2010 Rand Soellner, All Rights Reserved Worldwide.
Rand Soellner is a custom home architect designing projects for a discerning clientele all over the country and world. Soellner is also a mountain homes architect. His services are available nearly everywhere on the planet, places like Orlando Florida, Asheville North Carolina, Brevard North Carolina, Highlands NC, Cashiers NC, Lake Toxaway, Grand Rapids Michigan, Woodbine Illinois, Chattanooga Tennessee, Sevierville Tennessee, Murphy NC, Detroit Michigan, Fresno California, Yuma Arizona, Dodge City Kansas, Ontario Canada, Denver Colorado, Jackson Hole Wyoming, Big Sky Montana and other places.
E-mail: rand@homearchitects.com website: www.HomeArchitects.com Phone: 828-269-9046.
social media tags: custom house architects, luxury residential designers, highlands architect, home architects, cashiers, Asheville, atlanta, hendersonville, rosman, etowah, charlotte, buckhead, post and beam, timber frame, mansion architecture, cottage, log home, green home, castle architecture, small homes.


Last year we posted about the Ostrich Pillow, a most curious-looking sleep cocoon that encases a person's head and hands in pillowy softness. The pillow's creators at architecture studio Kawamura-Ganjavian have unveiled a new smaller version for kids: Ostrich Pillow Junior. Both versions are available at Studio Banana Things.


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text:
Norbert Troller, Norbert Troller1940s
Leo Baeck Institute, Center for Jewish History
Sailboat in water near shore, where there is a small dock and a number of houses. "5" in lower left.
Title: Sailboat
Creator: Troller, Norbert
Date Created: 1940s
Subject: Sailboats in art
Repository: Leo Baeck Institute at the Center for Jewish History
Physical Dimensions: w33.2 x h25.6 cm
Artist Biography: Born in Bruenn, Austria-Hungary (now Brno, Czechoslovakia) in 1900, Norbert Troller served as a soldier in World War I, spending time as a prisoner-of-war in Italy. After the war, he studied architecture in Brno and Vienna and worked as an architect in Brno until the German occupation of Czechoslovakia. He was deported to Theresienstadt in 1942, where he worked as an architect for the Jewish self-administration of the camp, and produced works of art as well. In 1944, he was imprisoned by the Gestapo, and was sent to Auschwitz later that year. After liberation, he lived briefly in Kraków, and then reopened his architectural business in Prague and Brno. He emigrated to the United States in 1948 and worked for the National Jewish Welfare Board in New York designing Jewish community centers, before opening his own practice. He died in 1984.
Type: Etching
Rights: This material may be used for personal, research, and educational purposes only. Any other use without prior authorization is prohibited. Please contact LBI librarians at lbaeck@lbi.cjh.org for further information.
LBI Art Collection, Center for Jewish History
Medium: Ink on paper
Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more
Priest bearing cross
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Piazza, Italy
Created around the same time
Street Scene, Paris
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Quais de la Seine, Paris
Uses same medium
View of Tiberias
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Palm trees and buildings, plate from Hesse's Italien
Friedrichroda II
Norbert Troller


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OSGi Services, inter-bundle services sometimes referred to as "SOA in a JVM"