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ALAA Member's Portal
ALAA Member's Portal
Newsletter & Archive
ALAA Triennial Conference
Graduate Programs in LA Art History
Latin American & Latinx Visual Culture
ALAA COVID Relief Fund
These institutions offer opportunities for pursuing a Ph.D. and/or M.A. in Latin American art history.
The list is organized alphabetically by institution and currently emphasizes programs in the United States; where not specified, the program offers a Ph.D. in art history.
This guide is intended as a bare-bones directory and does not generally include faculty in related fields (history, Spanish, anthropology, literature, Latin American and/or Iberian Studies, etc.). Students interested in certain Latin American countries whose artistic forms are strongly influenced by African traditions (e.g. Cuba , Brazil) might also consider programs with faculty interested in the Diaspora.
Arizona State University, Tempe, Arizona
Angélica J. Afanador-Pujol, Pre-Columbian and Early Colonial Art
Boston University, Boston, Massachusetts,
History of Art and Architecture
Ana María Reyes, Modern and Contemporary Latin America
California State University, Fullerton, California
History of Art, M.A. only
Elisa C. Mandell, Pre-Columbian and Latin American Art
California State University, Long Beach, California
Art Department, M.A. only
Catha Paquette, Pre-Columbian art and 19th & 20th Century Latin American
California State University, Los Angeles, California
Manuel Aguilar-Moreno, Pre-Columbian and Colonial Mesoamerica
City College of New York, New York, New York
Anna Indych-López, Modern and Contemporary Latin American Art History
CUNY The Graduate Center, (City University of New York), New York, New York
Katherine Manthorne, Art of the Americas, Modern Latin American, Latino Art
Judy Sund, Art of the Americas (Pre-Columbian to Modern)
Amanda Wunder, 16th- and 17th-Century Spanish Art
College of William and Mary, Williamsburg, Virginia
Department of Art History
M.A. and Ph.D., American Studies
Susan Verdi Webster, Iberia and Colonial Latin America
Columbia University, New York, New York
Kellie Jones, African American, African Disapora, Latin American
Alessandra Russo, Colonial Latin America (Dept. of Spanish and Portuguese)
Lisa Trever, Pre-Columbian Art and Architecture
Cornell University, Ithaca, New York
Department of History of Art and Visual Studies
María Fernández, Modern and Contemporary Latin America
Ananda Cohen-Aponte, Pre-Columbian and Colonial Latin America
Ella Maria Diaz, Chicana/o art and visual culture (Department of English; Latina/o Studies Program)
Duke University, Durham, North Carolina
Art, Art History and Visual Studies
Esther Gabara, 20th Century Latin American Visual Culture and Literature (joint appointment in Romance Studies)
Emory University, Atlanta, Georgia
Art History Department
Megan E. O'Neil, Art of the Ancient Americas
Florida State University, Tallahassee, Florida
College of Visual Arts, Theatre and Dance
Michael Carrasco, Mesoamerica, Maya and Mayan epigraphy
Paul Niell, Colonial Latin American, Caribbean, and Early Modern Atlantic World Art History and Material Culture
Mary Pohl, Pre-Columbian Art and Archaeology
Robinson Herrera, Colonial Latin American (Department of History)
George Mason University, Fairfax, Virginia
Department of History and Art History, M.A. only
Michele Greet, Modern Latin American Art History
Harvard University, Cambridge, Massachusetts
Dept. of History of Art and Architecture
Thomas Cummins, Pre-Columbian and Latin American Art
Patricio del Real, Modern Latin American Architecture
Felipe Pereda, Late Medieval and Early Modern Spanish Art and Architecture
Hunter College, City University of New York
Lynda Klich, Viceregal, Modern, and Contemporary Latin American Art
Harper Montgomery, Modern and Contemporary Latin American and Latino Art
Johns Hopkins University, Baltimore, Maryland
Lisa Deleonardis, Ancient archaeology and art of the Americas
Aaron M. Hyman, Art of the Spanish Empire
Louisiana State University, Baton Rouge, Louisiana
School of Art, M.A. only
Elena FitzPatrick Sifford, Colonial Latin American Art
New Mexico State University, Las Cruces, New Mexico
Elizabeth Zarur, Renaissance/Baroque Art and Culture of Latin America and Portugal
New York University, New York
Miriam Basilio, Modern Spanish and Latin American Art
Edward J. Sullivan, Modern Latin American and Caribbean Art
Jens Andermann, Contemporary Latin American and Brazilian literature, film, visual arts and architecture; material culture, museums and exhibitions; critical geography and landscape studies; postnatural aesthetics and theory (Dept. of Spanish and Portuguese)
Jesús Escobar, Architecture and urbanism of the Spanish Habsburg world
Krista Thompson, Art of the African Diaspora
The Ohio State University, Columbus, Ohio
Department of History of Art
Byron Hamann, Pre-Columbian and Colonial
Oklahoma State University, Stillwater, Oklahoma
Cristina Cruz González, Pre-Columbian and Colonial New Spain, Art of the Early Modern Spanish World
Pennsylvania State University, University Park, Pennsylvania
Amara Solari, Pre-Columbian and Colonial Latin American Art and Architecture
Pontificia Universidad Católica del Perú, Lima, Peru
Graduate School, Department of Humanities
M.A. only, Masters in Art History and Curating
Cécile Michaud, European baroque art, viceregal arte, ties between European and Viceregal art
Fernando Villegas, Peruvian and Latin American art in the 19th and 20th centuries
Juan Carlos Estenssoro, Baroque art
Krzysztof Makowski, Prehispanic iconography and Ancient art of Europe
Princeton University, Princeton, New Jersey
Department of Art and Archaeology
Irene Small, Modern and Contemporary Art in a transnational context; Brazilian art
Purchase College, State University of New York, Purchase, New York
Department of Art History, M.A. only
Patrice Giasson, Latin American and Pre-Columbian Art
Queen's University, Kingston, Ontario
Department of Art History and Art Conservation
Gauvin Alexander Bailey, 16th-18th century Southern and Central European arts and their international diffusion in Latin America and Asia
Rice University, Houston, Texas
Fabiola Lopez-Duran, Modern Latin American Art
Rutgers, The State University of New Jersey, New Brunswick, New Jersey
Sarah Brett-Smith, African, Oceanic, and Pre-Columbian Art
Tatiana Flores, Modern and Contemporary Latin American Art
School of the Art Institute of Chicago, Chicago, Illinois
Art History, Theory and Criticism, M.A. only
Daniel Quiles, Latin American Art
Beatriz Balanta, 19th-century Latin America
Roberto Conduru, Modern and Contemporary art and architecture in Brazil, Afro-Brazilian art
Adam Herring, Ancient Americas and Colonial Latin American
Adam Jasienski, Early Modern Latin America and Spain
Texas Christian University, Fort Worth, Texas
Art History Department, M.A. only
Lori Diel, Pre-Columbian and Colonial Latin American
Temple University, Philadelphia, Pennsylvania
Mariola V. Alvarez, Modern and Contemporary Latin American Art
Texas Tech University, Lubbock, Texas
Lesley A. Wolff, Latinx and Latin American art and critical theory
Tufts University, Medford/Boston, Massachusetts
Dept. of Art and Art History, M.A. only
Adriana Zavala, Modern and Contemporary Mexican, Latin America, Chicanx and Latinx Art and Visual Culture
Tulane University, New Orleans, Louisiana
MA in art history; PhD joint degree in Art History and Latin American Studies
Adrian Anagnost, Modern and Contemporary Latin America
Mia Bagneris, African American Art and Art of the African Diaspora
Elizabeth H. Boone, Pre-Columbian, Colonial, Mesoamerica
Stephanie Porras, Early Modern Print Culture
Carol M. Reese, Architecture and Urban Design, Urban Studies
Thomas F. Reese, Colonial Latin American, Modern
Universidad Autónoma de Madrid, Madrid, Spain
Department of the History and Theory of Art
Luisa Elena Alcalá, Iberian and Colonial Latin American Art
Universidad de los Andes, Bogotá, Colombia
Graduate School of Arts and Humanities
MA program only
Ana M. Franco, Modern and Contemporary Latin American Art
Juan Carlos Guerrero, Contemporary Latin American Art
Maria Clara Bernal, Contemporary Latin American Art
Verónica Uribe, 18th and 19th Centuries Latin American Art
Olga Acosta, Colonial/Viceregal Latin American Art
Universidad Iberoamericana, Mexico City, Mexico
Department of Art, PhD in the History and Critical Theory of Art
Luis Javier Cuesta Hernández, Viceregal Art of Mexico
Ana María Torres Arroyo, Modern and Contemporary Mexican Art
Olga María Rodríguez Bolufé, Modern and Contemporary Latin American and Caribbean Art
Dina Comisarenco Mirkin, History and Historiography of 20th-Century Mexican Art and Design
José Luis Barrios Lara, Contemporary Mexican Art
Universidad Nacional Autónoma de México, Mexico City, Mexico
Department of Art History, Facultad de Filosofía y Letras, Instituto de Investigaciones Estéticas
Pablo Francisco Amador Marrero, Art of New Spain
Clara Bargellini Cioni, Colonial Art of New Spain
Jaime Genaro Cuadreillo Aguilar, Viceregal Art of New Spain
A complete list of other faculty can be found at this website: http://www.esteticas.unam.mx/directorio_investigadores
University College of London, England
Emily Floyd, Pre-Contact and Colonial Andes
University of Alberta, Edmonton, Alberta
Department of Art and Design
MA in Department of Art and Design; Interdisciplinary PhD
M. Elizabeth (Betsy) Boone, 19th & 20th century Art and Visual Culture
Odile Cisneros, Modernism and the Avant-Gardes, especially Mexico and Brazil (Dept. of Modern Languages and Cultural Studies/Comparative Literature)
Ann de Leon, Colonial Literatures and Cultural Studies (Dept. of Modern Languages and Cultural Studies)
University of Arizona, Tucson, Arizona
Stacie G. Widdifield, Late Colonial and Modern Mexico
University of California, Berkeley, Berkeley, California
History of Art Department
Julia Bryan-Wilson, Modern and Contemporary Art of the US, Europe, and Latin America
Todd Olson, Early Modern Art of Europe and Latin America
University of California, Los Angeles (UCLA), Los Angeles, California
Charlene Villaseñor Black, Colonial and Modern Latin America, Chicano art
Stella Nair, Ancient to Early Modern Americas Art, Architecture, and Urbanism
Matthew Robb, Ancient Americas Art, Architecture, and Urbanism (Fowler Museum)
University of California, Riverside, Riverside, California
Aleca Le Blanc, Modern & Contemporary Latin America
Karl Taube, Pre-Columbian Mesoamerica (Dept. of Anthropology)
University of California, San Diego (UCSD), San Diego, California
Department of Visual Arts
Elizabeth Newsome, Mesoamerican Art History
University of California, Santa Barbara (UCSB), Santa Barbara, California
Dept. of History of Art & Architecture
Gerardo Aldana (art historian in Chicano Studies Dept), Pre-Columbian, esp. Mayan
Alicia Boswell, Pre-Columbian Art and Archaeology
Allison Caplan, Pre-Columbian and Colonial Art
María Lumbreras, Early Modern Spanish and Colonial Latin American Art
University of California, Santa Cruz (UCSC), Santa Cruz, California
Program in Visual Studies
Carolyn Dean, Pre-Hispanic and Colonial Latin America
University of Chicago, Chicago, Illinois
Dept. of Art History
Claudia Brittenham, Pre-Columbian and Colonial
Cecile Fromont, Early Modern Africa and Latin America; Lusophone world
Megan Sullivan, Contemporary Latin American Art
University of Colorado, Boulder, Colorado, M.A. in Art History; PhD in Arts of the Americas
James Cordova, Pre-Columbian and Colonial Latin American Art
Robin Greeley, Modern and Contemporary Latin American Art
University of Delaware, Newark, Delaware
Monica Dominguez Torres, Renaissance and Baroque Art of Hispanic World
Janis A. Tomlinson, Art of Spain
University of Denver, Denver, Colorado
School of Art and Art History, Museum Studies, M.A. only
Annabeth Headrick, Precolumbian Art
University of Florida, Gainesville, Florida
Kaira Cabañas, Modern and Contemporary Art of the US, Europe, and Latin America
Derek Burdette, Colonial Latin American art
Maya Stanfield-Mazzi, Pre-Columbian and Colonial Latin America
University of Guelph, Ontario, Canada
Art and Visual Culture, M.A. only
Susan Douglas, Culture and Art of Contemporary Latin America
University of Houston Clear Lake
Humanities Program, Liberal Arts Department, M.A. in Humanities with possible concentrations in Art History & Museum Studies
Beth Matusoff Merfish, Modern Latin American Art
University of Houston, Texas
Art History, M.A. only
Rex Koontz, Art of the Ancient Americas
Roberto Tejada, Modern, Contemporary, and U.S. Latina/o
University of Illinois, Chicago, Illinois
Andrew Finegold, Visual Culture of the Ancient Americas
Emmanuel Ortega, Colonial Latin America
University of Illinois, Urbana-Champaign, Illinois
Oscar Vázquez, Late Colonial and Modern Latin America and Spain
University of Louisville, Louisville, Kentucky
Department of Fine Arts, Hite Art Institute, M.A. only
Christopher Fulton, Modern Mexican Art
University of Maryland, College Park, Maryland
Abigail McEwen, Modern Latin American Art
Ana María León, Nineteenth- and twentieth-century Architecture and Art in the Americas and Europe
Brendon McMahon, Visual and material culture of early modern Spain and the Spanish Americas
University of Montana, Missoula, Montana
H. Rafael Chacón, Contemporary Latin American Art
Department of Art and Art History, Latinx and Latin American Studies Program
M.A. in Art History and IPhD (Interdisciplinary PhD)
Joseph R. Hartman, Art of the Americas (ancient to present), Modern Latin American, Caribbean, and Latinx Art, Art of the African Diaspora
University of New Mexico, Albuquerque, New Mexico
Margaret Jackson, Ancient Americas and Visual Culture Studies
Ray Hernández-Durán, 16th- through 19th-century Latin American Art, U.S. Latinx Art, and Arts of Africa and the African Diaspora
Kency Cornejo, Modern & Contemporary Latin American Art History
University of North Carolina, Chapel Hill, North Carolina
Eduardo Douglas, Pre-Columbian, Colonial and Modern Latin America American Art, Latin Americans of African Descent
Lyneise Williams, Early 20th Century Latin
Laura Amrhein, [Visiting faculty], Pre-Columbian Art, Twentieth-Century Art, Maya Art
University of North Texas, Denton, Texas
Department of Art Education and Art History, M.A. only
Kelly Donahue-Wallace, Colonial Latin American Art
University of Notre Dame, Notre Dame, Indiana
Department of Art, Art History & Design, M.A. only
Michael Schreffler, Colonial New Spain & Andes
The University of Oregon
Department of the History of Art and Architecture
Keith Eggener, Modern architecture of the Americas
Department of History of Art and Architecture
Jennifer Josten, Modern and Contemporary Art of the Americas and Europe; Art and Architecture of Mexico
University of St. Thomas, St. Paul, Minnesota
William Barnes, Pre-Columbian and Colonial Latin America
Heather Shirey, Afro-Brazilian Art and Art of the African Diaspora
University of Southern California, Los Angeles, California
Daniela Bleichmar, Colonial/Trans-Atlantic plus faculty in Spanish and Portuguese, American Studies and Ethnicity, Cinema and Media Studies, History, and other departments
University of Texas, Austin, Texas
Dept. of Art & Art History
George Flaherty, Modern and Contemporary Latin American and U.S. Latino Art
Julia Guernsey, Mesoamerica-Preclassic
Adele Nelson, Modern and Contemporary Latin American
David Stuart, Mesoamerica/Maya Hieroglyphic Writing
University of Texas, Rio Grande Valley, Brownsville, Texas
Department of Art History; MAIS only (Master of Arts in Interdisciplinary Studies with a concentration in Art History), Certificate in Latin American Art History
Katherine McAllen, Spanish Colonial Art of Peru and Mexico
University of Texas, San Antonio, Texas
Dept. of Art & Art History, M. A. only
Teresa Eckmann, Modern and Contemporary Latin America
Juliet Wiersema, Pre-Columbian and Colonial Latin American Art
University of Utah, Salt Lake City
Elena Shtromberg, 20th-century Latin American art and visual culture
University of Western Ontario, London, Canada
Cody Barteet, Precolumbian Art and Architecture, Early Modern Art and Architecture in Latin America and Europe
Virginia Commonwealth University, Richmond, Virgina
Dept of Art History
James Farmer, Pre-Columbian/Ecuador & Peru, Southwest, Mesoamerica
Margaret Lindauer, Museum Studies/Frida Kahlo
Virginia Tech, Blacksburg, Virginia
Program in Environmental Design and Planning, College of Architecture and Urban Studies
Humberto Rodríguez-Camilloni, South American Pre-Columbian & Spanish American Art & Architecture
Williams College, Williamstown, Massachusetts
Graduate Program in the History of Art in Collaboration with The Clark Art Institute, M.A. Only
Mari Rodriguez Binnie, Modern and Contemporary Latin American art
C. Ondine Chavoya, US Latinx and Chicanx art
Mary Miller, Pre-Columbian Aztecs, Maya and Inca
Last Update to Program List: March 2018. Efforts have been made to be as accurate as possible; if you see errors or know of a graduate program that is not listed here but should be, please email Jamie Ratliff at jamie.ratliff.79@gmail.com.
Image: Casa Azul, Coyoacán, Mexico, photo courtesy of Jamie Ratliff
Association for Latin American Art
http://associationlatinamericanart.org/


TOLEDO (WTOL) - We will be watching local rivers closely this week as more rounds of heavy downpours are likely. The first round of showers will exit by Wednesday afternoon but more rainfall is likely on a First Alert Day Thursday. In addition to normal high water following soaking rainfall there is a threat for more ice jams as ice chunks continue to break and move down rivers. These can cause quick flash flooding.
Below is a snap shot of local watershed expected rainfall over the next 2 days. If you're asking what is a watershed? If rain falls in these areas it will eventually find it's way to the main river. As example, Maumee River watershed is the area where rainfall will eventually trickle to the Maumee River.
Another way we monitor local rivers is at specific locations where equipment is set-up to constantly measure river levels. Below are a few select past and future graphics that highlight potential minor flooding on the Maumee and Blanchard River.


The Republic of El Salvador awarded the Diplomatic Order of Merit (the National Order of Jose Matias Delgado) to the Acting charge d'affaires at the State of Qatar's embassy to the Republic of El Salvador Ahmed bin Mohammed Al Horr in recognition of his efforts to promote relations between the State of Qatar and the Republic of El Salvador.
This took place when HE the Acting Minister for Foreign Affairs of the Republic of El Salvador Carlos Casteneda met with the Acting charge d'affaires at the State of Qatar's embassy to the Republic of El Salvador Ahmed bin Mohammed Al Horr on the occasion of ending his tenure.
HE the Acting Minister for Foreign Affairs of the Republic of El Salvador praised the bilateral relations between the two countries and the State of Qatar's positions in supporting the Republic of El Salvador, hailing the role of the Acting charge d'affaires in enhancing and strengthening relations between the two countries.
He stressed the depth of the relations between his country and the State of Qatar, expressing his aspiration to develop the relations with the State of Qatar in various political, economic and cultural fields. He noted that his country believes in the important role of the State of Qatar in the international arena.
He also pointed out that El Salvador awarded the Diplomatic Order of Merit to the Acting charge d'affaires at the State of Qatar's embassy to the Republic of El Salvador Ahmed bin Mohammed Al Horr in recognition of his diplomatic efforts and his efforts in enhancing the constructive and positive relations between Qatar and El Salvador.
For his part, the Acting charge d'affaires Ahmed bin Mohammed Al Horr expressed his thanks to HE the Acting Minister for Foreign Affairs of the Republic of El Salvador and the Government of El Salvador for the great facilities he received that helped him in carrying out his duties in El Salvador, noting the Government of El Salvador's position in supporting the State of Qatar in the Gulf crisis.


Glenn Eames provides a guided tour of his collection at the Henry Sheldon Museum, an exhibit which recently closed. Bicycle posters, historic bicycling photographs, antique bicycle signs, and a small library of bicycle-related books entertained the visitors. Included in the exhibit were an 1895 Vermont map highlighting bicycle routes lent by Vermont Bicycle Tour founder and former owner John Freidin.


Algorithms and other services from US broker and technology provider Knight Capital are now available on NYSE Technologies' Secure Financial Transaction Infrastructure (SFTI) network.
SFTI customers can now access Knight's electronic trading products and services from the same connections they currently use to access NYSE Euronext markets, other exchanges and brokers. NYSE Technologies is a subsidiary of global exchanges group NYSE Euronext.
Knight products include electronic market-making, access to equity liquidity, a multi-asset-class EMS, agency-only algorithms, the Knight Match dark pool, the HotSpot FX ECN and Knight BondPoint's fixed income ECN.
Designed to provide a single point of access to the financial markets and market participants, NYSE Technologies' SFTI network is specifically built for electronic trading and market data traffic and as such aims to reduce clients' time-to-market, improve performance and lower trading infrastructure costs.
"We are committed to providing as many points as possible for market participants to access Knight's liquidity, and our establishment as a destination on the SFTI network furthers our goal," said Meaghan Mullins, managing director, Knight Capital Group.


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Home›Latest›Live Review: The Gatsby Affair at The Whitley in Los Angeles, CA
Live Review: The Gatsby Affair at The Whitley in Los Angeles, CA
by Carah Wes
Material: The Gatsby Affair is charmingly familiar, almost to a fault. The songs are warm and nostalgic, lacking in some emotional depth, like some of pop-punk's darlings in the early 2000's. "Easy," and "Because I Met You," were startling catchy, though the melodies have ceased to follow past the exit door of the venue. The problem for The Gatsby Affair is not in their ability to write musical hooks; instead, it is in lyrics that don't make an impact and all too similar arrangements for each song in their set. Those arrangements can be forgiven, as many people would argue every pop-punk song sounds the same anyway, but lyrics are incredibly important for acts in this genre.
Musicianship: Lead vocalist Beem has a friendly and palatable voice. It is what one might expect for the pop-punk genre, but pleasant nonetheless. Lead guitarist Duarte played clean parts with a quirky Ezra Miller-esque stage energy that was captivating for the band's small but loving audience. Bassist DiSarrio has great stage presence and energy, and all of his parts (albeit simple ones) are neat and tucked in place. Good players, good singer, good songs, but a bit too familiar for a strong investment. Finding what makes your band special, be it three-part harmonies or wild bass riffs, and letting that shine through is what's going to be important for The Gatsby Affair.
Performance: The vibe of each individual player at this show, from their outfits to their energy, was exactly where it needed to be. Bass player and lead guitarist had great presence, interacting with each other in a way that seemed natural and fun. The band was well rehearsed––no parts seemed out of place, no wrong notes were heard––and the vocals were clean (if not a bit too low in the mix). In doing research about The Gatsby Affair, it was difficult to determine if this band is the usual line-up or a one night only performance. Regardless, it was fun to watch, and the audience agreed.
Summary: The Gatsby Affair is a good band. The songs are in a good place––good melodies, decent arrangements. The musicianship is good, they play well as a unit, which made this performance fine to watch. Unfortunately, good doesn't pay the bills in Los Angeles. In a city as competitive as this one, the songs and performance need to be even stronger: The story you tell is ultimately what draws fans to your music. Give them something personal and unique to listen to. There are a lot of bands doing the same routine in LA––what makes you different? Find that and play to it. It'll make a world of difference. – Carah Wes
Contact: davedisarro@gmail.com
Web: facebook.com/thegatsbyaffair
Players: Ron Beem, lead vocals, guitar; Greg Duarte, lead guitar; James Decker, drums; Dave DiSarro, bass
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Q: prove that square root of 2 is irrational using sets There is a set $A$ with positive integers $x$ such that there exists $y$ s.t.$ x^2=2y^2$. Show that if A is non-empty, it violates the well ordering principle.
I don't even know how to start this.

A: If $x^2=2y^2$, then $(2y-x)^2=2(x-y)^2$.

A: Hint $\ $ Show that if $\rm\,A\,$ is nonempty then it has no least element, contra $\rm\,A\subseteq \Bbb N\,$ is well-ordered. Note $\rm\:a\in A\:\Rightarrow\:a^2 = 2\,b^2\:\Rightarrow\:a $ even so cancelling $\,2\,$ yields $\rm\:b^2 = 2\,(a/2)^2$ so $\rm\,b\in A,\,$  and $\rm\,b < a.\:$
Remark $\ $ This contrapositive form of induction is known as infinite descent (Fermat). More conceptually the proof is a descent on the set $\rm\,A\,$ of numerators of fractions $\rm = \sqrt{2},\:$ since $\rm\:(a/b)^2\! = 2\:$ $\Rightarrow$ $\rm\:a/b = 2b/a = b/(a/2),\:$ yielding a fraction with smaller numerator $\rm\,b < a$.

A: What you want to do is show that if
$\sqrt 2 = m/n$, where $m$ and $n$ are positive integers,
then there are positive integers
$p$ and $q$ with $q < n$
such that $\sqrt 2 = p/q$.
The key trick is to write
$\sqrt 2 = \sqrt 2 \frac{\sqrt 2 - 1}{\sqrt 2 - 1}
= \frac{2-\sqrt 2}{\sqrt 2 - 1}
= \frac{2-m/n}{m/n-1}
= \frac{2n-m}{m-n}$.
Now set $p = 2n-m$ and $q = m-n$.
Since $m-n < n$, this denominator is smaller, and well-ordering can be used.
This can be used to prove that $\sqrt k$ is irrational
for any non-square positive integer $k$.
I don't know if a variation of this is known for the cube root.
Of course, this is not original with me.

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The Colgate Maroon-News • November 15, 2007 • https://thecolgatemaroonnews.com/11727/news/key-acquisitions-fail-to-propel-rangers-oilers/
Key Acquisitions Fail to Propel Rangers, Oilers
Bill Stoklosa
Last offseason was a busy one in the NHL, as teams across the league tried to pick up the big free-agent that would help them gain the most coveted trophy in all of sports. In this edition, I'll be taking you across the league to look at how some of the major free-agent acquisitions have fared thus far.
The team that arguably gained the most headlines for their offseason moves were the New York Rangers, who brought in centers Chris Drury and Scott Gomez to help boost their offense. Through 17 games, Drury, a former Buffalo Sabre, only has three goals and seven assists, while sporting a plus/minus of -2. Gomez, a former New Jersey Devil, hasn't faired much better. He also has 10 points with four goals and six assists, and an even plus minus. Drury and Gomez's struggles are indicative of the offense as a whole, which has scored a league low 34 goals. The Rangers are still managing to stay a hair above .500 at 9-7-1, thanks to the stellar play of goalie Henrik Lundqvist who has an extraordinary .940 save percentage and an unbelievable 1.62 goals against average.
In regards to another former Sabre currently skating in the City of Brotherly Love, we must examine the exploits of the short but skilled center, Daniel Briere. Philadelphia was the worst team in the conference last year. This year, Philadelphia leads the Atlantic with a 10-6 record, despite the fact that over two-thirds of their games thus far have been on the road! Briere's been a huge part of that success. He leads the team with 19 points coming on six goals and 13 assists. His offensive skills have been instrumental in leading Philadelphia to a division-high 49 goals. Briere has been helped out by another former Sabre, goalie Martin Biron, who joined the Flyers at the deadline last season. Biron has a whopping .936 save percentage and 2.25 goals against average. The struggling Sabres, meanwhile, are currently tied for the worst record in the league, could use both Biron and Briere right now.
Another Atlantic Division team, whose off-season moves are paying dividends, is the Islanders. The Islanders, who lost forwards Ryan Smyth and Jason Blake this offseason, looked like they would be in trouble. However the addition of three free agent forwards has helped the Islanders to a surprising 9-4 start. Bill Guerin, Mike Comrie and Ruslan Fedotenko, have all filled in nicely and put up five goals apiece. The departed Blake is struggling to find the net in his new home in Toronto, with just two goals on the year. The Islanders are probably a little more upset they let Smyth go. Smyth has now set up shop with the Colorado Avalanche and has 13 points on six goals and seven assists. Hus offensive skill and leadership are a big reason why the Avalanche currently leads the Northwest Division and is second in the West with an 11-5-1 record. Not bad for a team that missed the playoffs last year.
At the bottom of the Northwest, the Edmonton Oilers have a different free agent story to tell. The Oilers signed defensemen Sheldon Souray who had a staggering 26 goals and 38 assists from the blue line last season with the Canadiens and set the record for power play goals by a defenseman with 19. However he only scored a goal and an assist through the first six games of this year, before being placed on injured reserve on October 24 with shoulder problems. He is yet to return. So far the Oilers $27 million expenditure hasn't paid off and they are currently tied for the worst record in hockey.
In that West Coast hockey mecca that is Los Angeles, the Kings are having a surprisingly good year and at 8-8 are just two points back of San Jose for first in a weak Pacific Division. The addition of Ladislav Nagy has reaped dividends as the forward has racked up four goals and seven assists on the year. Most importantly, he is second on the team with an impressive +6, showing his ability in both the offensive and defensive aspects of the game. Their other notable free agent acquisition, defensemen Brad Stuart, who spent last year with Boston and Calgary, has been less impressive with just two goals and a -6 rating.
The Detroit Red Wings, always active in the off-season, made the best off-season acquisition when they signed stand-out defensemen Brian Rafalski. Rafalski has been superb this season dishing out 11 assists and in the most important statistic for defensemen, plus/minus, he has a +8. He is a major reason why Detroit leads the West with a 13-3-1 record and is second only to the 14-2 Ottawa Senators overall. Rafalski's former team the Devils are really missing him, as they have fallen to last in the Atlantic with a 6-8-2 record.
No team needed to make a bigger splash in free agency than the Washington Capitals, who desperately needed some young talent around their rising star Alexander Ovechkin. They tried to do this by adding two forwards in former Ranger Michael Nylander and former Islander Viktor Kozlov. They've both been pretty good. Nylander has five goals and 11 assists, while Kozlov has three goals and nine assists. Another acquisition, Tom Poti, has helped the defense somewhat with his +1 rating, but the unit is still far too weak and goalie Olaf Kolzig is getting too old for this team to succeed. They are currently tied with Edmonton and Buffalo at the bottom of the league standings.
The first quarter of the season has shown how important handling free agency effectively is in the salary cap era. However, if your team failed to address its needs this off-season (I'm talking to you Sabres, Capitals, and Oilers fans) you can always hope for a big deal at the trading deadline.


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Essex Daily Voice serves Belleville, Caldwell, Cedar Grove, Fairfield, Glen Ridge, Montclair, Newark, Nutley, Verona & West Orange
serves Lyndhurst, North Arlington & Wallington
serves Carlstadt, East Rutherford & Rutherford
serves Bayonne, Harrison, Hoboken, Jersey City, Kearny, North Bergen, Secaucus, Union City & West New York
New Lawsuit Details NJ Rabbi's Horrific Sexual Abuse Of Teen Students
Cecilia Levine
Baruch Lanner Photo Credit: Florida Department of Law Enforcement via Wikimedia
Hudson County Man Enticed Minors To Send Him Homemade Porn Pics…
A New Jersey rabbi formerly convicted of child sex assault is facing lawsuits from five women alleging he sexually abused them, too -- all while his employers sat idly, according to various media outlets.
Rabbi Baruch Lanner, the Orthodox Union (OU), the National Conference of Synagogue Youth (NCSY) and Hillel Yeshiva High School were named as defendants in the suit, filed earlier this week in Middlesex County Superior Court, as originally reported by the Jewish Week via the Jewish Telegraph Association.
Lanner's abuse was initially detailed in an investigative piece by the Jewish Week called "Stolen Innocence" in 2000, which later won an award for meritorious journalism. Lanner resigned from NCSY the day after the story was published.
Lanner was charged with the sexual abuse of two Hillel students in the 1990s and stood trial in 2002.
The rabbi, believed to currently live in Elizabeth, was a top official in both organizations and previously previously served as the Orthodox Jewish high school in Ocean Township.
Officials in the organizations named in the suits were aware that Lanner emotionally and physically abused children, but let it continue, JTA says.
The new suit -- filed by Jane Does #1 to #5 -- says Lanner groped and kiss them at youth group events and even a trip to Israel, where one victim was allegedly punched in the stomach by Lanner when she refused to speak to him, NJ Advance Media reports.
One woman who went by "Marcia" was among the first to tell her story to the New York Jewish Week in 2000, saying she was 14 and a new student at Hillel in Deal when it began. At that time, Lanner was the regional director of NCSY, which Marcia was a part of.
On her very first day of school, the rabbi put his arm around her -- despite the prohibition of touching between sexes -- and welcomed her to the school.
Things only got worse, Marcia told the outlet, adding Lanner called her into his office nearly every day for eight months and kept the door closed and blinds drawn, telling her that he loved her, that she was beautiful, and then touched her most intimate body parts.
The five new lawsuits were filed hours before the deadline of a two-year window lifting the statute of limitations in New Jersey, allowing previous victims of child sex assault to file suits against various organizations and schools.
Despite countless complaints of alleged abuse by Lanner from students, he was never reported to authorities or removed from his positions, according to the suit detailed by NJ Advance Media.
Leaders of the OU and NCSY in a letter sent this week said the resurfacing of Lanner's case "reminds us of the ongoing pain suffered by his victims and of our tremendous responsibility to be vigilant and proactive in ensuring the physical, sexual and emotional safety of every participant in our programs.
"We may not permit the failures that allowed for the abuses committed by Lanner to be repeated."
Click here for more from NJ.com and here for more from JTA.
Follow Cecilia Levine on Instagram
Not in Essex?


Let's Share, from heylo housing, brings the part-buy part- rent affordability benefits of shared ownership to Local Authorities and Housing Associations looking to replace lost rented affordable housing with limited amounts of capital to invest.
Available on second-hand properties across the country, Let's Share allows Local Authorities and Housing Associations to buy a share of an existing home and then sub-let the property to a tenant - reducing the amount of capital investment required, increasing the availability of properties for rent and helping to reduce temporary housing budgets.
Local Authorities and Housing Associations subsidise a 20% discount on the value of the property to be acquired, to make it affordable for rent, and acquire a 10% share based on the full OMV.
This subsidy is embedded in the landlords share to make the shared ownership lease rental payments affordable and is recycled or returned to the Local Authority or Housing Association should the property ever 'staircase' to 100%.
The Local Authority or Housing Association owns 10% of the property, pays an inflation linked rent on the unpurchased share.
Using shared ownership this means that with a capital investment of 30% of open market value Local Authorities and Housing Associations could immediately deliver new rented stock via the purchase of second-hand properties.
The rent on the unpurchased share starts at 3.65% (increasing annually in line with RPI plus 0.75%).
The 125 year Let's Share lease follows the Homes and Communities Agency (HCA) standard form and all of the rights and obligations, including the right to staircase, are present.
However, unlike consumer shared ownership the Local Authority or Housing Association shared owner will be given a blanket consent to sub-let the property to tenants with complete freedom to determine their own lettings (including rent levels and letting terms).
Plus, If in the future there is a need to raise funds then the Local Authority or Housing Association can sell their share (realising the capital investment and any house price inflation) whilst maintaining affordable housing delivery in the form of normal consumer shared ownership.
A Local Authority or Housing Association has £1.8m of capital to invest in affordable rented delivery, however, there are currently no opportunities for it to acquire New Build properties for rent using Let's Share.
Given Second-Hand property values of 3 bed homes in the area are £200,000, the Local Authority or Housing Association could invest 30% per property, £60,000 per unit, (to fund a 20% discount via a £40,000 subsidy and acquire a 10% share) in 30 properties.
The Local Authority or Housing Association identifies the second-hand properties it wishes to acquire, and has them professionally valued (to establish OMV).
The Local Authority or Housing Association then agrees to provide a subsidy equivalent to 20% of OMV and acquire a 10% share (for 10% of OMV), heylo agrees to acquire the property and grant a shared ownership lease as well as the agreement for sub-letting.
At completion heylo simultaneously acquires the property (using it's own funding and the 20% provided by the Local Authority or Housing Association) and grants the shared ownership lease (selling the Local Authority or Housing Association a 10% share).
The purchasing Local Authority or Housing Association acquire almost any second-hand family sized home (typically this will be a freehold house).
Whilst leasehold properties with leases longer than 125 years can be accommodated these require additional legal work that the Local Authority or Housing Association would be required to pay for.
The most important aspects are that the home is habitable and the share could easily be sold to consumers if required in the future.
The Local Authority or Housing Association is free to determine the occupancy of the Let's Share properties, set the term of the sub-lettings, set the rent levels (on a property by property basis), manage the lettings as if the properties were fully owned and undertake maintenance of the properties.
The open market value (OMV) of a target second-hand property is £200,000.
Each 10% share purchased by the Local Authority or Housing Association at 30% of OMV is £60,000.
This is a monthly shared ownership lease payment of £547.50 (equivalent to £126.35 per week).
Estimating annual management and maintenance costs per property of £2,400 means that the Local Authority or Housing Association will need to generate annual sub-letting income of £8,970.00 to 'break even'.
This means the Local Authority or Housing Association could obtain this £200,000 property for £60,000 and rent it out.
If all the lettings on similar £200,000 properties acquired using Let's Share generated an average rent level of £172.50 per week then the Local Authority or Housing Association would 'break even'.
The table below shows the Capital Investment per property and break even weekly rent based on a range of second hand property values.
This includes £2,400 additional annual management and maintenance on-costs to the Local Authority or Housing Association.


text:
Minuscule 534 (in the Gregory-Aland numbering), 547 (Scrivener's numbering), ε 333 (in Soden's numbering), is a Greek minuscule manuscript of the New Testament, on a paper. Palaeographically it has been assigned to the 13th century. The manuscript was adapted for liturgical use. It is lacunose.

Description

The codex contains an incomplete text of the four Gospels on 270 paper leaves (size ) with some lacunae (Luke 1:25-42; 20:37-21:24). It is written in one column per page, 22 lines per page.

The text is divided according to the  (chapters), whose numerals are given at the margin, and their  (titles of chapters) at the top and foot. There is no division according to the Ammonian Sections or Eusebian Canons.

The tables of the  (tables of contents) are placed before each Gospel. It contains a lectionary markings at the margin, incipits, αναγνωσεως (lessons), Synaxarion, Menologion, subscriptions at the end of each Gospel, and pictures.

It has on the cover "a curious metal tablet adorned with figures and superscriptions" (as codex 536).

Text

The Greek text of the codex is a representative of the Byzantine text-type. Hermann von Soden classified it to Ak, related to the Antiocheian commentated text (along with 546, 558, 573, 715). Aland placed it in Category V.
According to the Claremont Profile Method it represents textual family Kx in Luke 1, Luke 10, and Luke 20 (fragmentary in Luke 1 and 20).

History

The manuscript is dated by the INTF on the palaeographical ground to the 13th century.

The manuscript was written by Marcus in the 13th century. In 1864 it was purchased from a dealer at Janina in Epeiros, by Baroness Burdett-Coutts (1814-1906), a philanthropist, together with other Greek manuscripts (among them codices 532-546). They were transported to England in 1870-1871. All collection was presented by Burdett-Coutts to Sir Roger Cholmely's School.

The manuscript was added to the list of the New Testament minuscule manuscripts by F. H. A. Scrivener (547) and C. R. Gregory (534). Gregory saw it in 1883.

The manuscript was housed at the Highgate (Burdett-Coutts 1. 7), in London. It was examined and collated by Scrivener.

It is currently housed at the University of Michigan (Ms. 26) in Ann Arbor.

See also

 List of New Testament minuscules
 Biblical manuscript
 Textual criticism

References

Further reading

 F. H. A. Scrivener, Adversaria critica sacra (Cambridge 1893), pp. XXXVII-XLI. (as g)
 K. W. Clark, A Descriptive Catalogue of Greek New Testament Manuscripts in America (Chicago, 1937), pp. 209–300.

External links
 Images of the minuscule 534 at the CSNTM

Greek New Testament minuscules
13th-century biblical manuscripts
University of Michigan

redpajama_set_name: RedPajamaWikipedia


text:
Q: Sem resposta ao tentar rodar proxies em Python Estou tentando escrever um código para fazer meu próprio scrapping na Web e estou tentando implementar a rotação de proxy, mas não estou obtendo nenhum resultado. Eu verifiquei muitos sites e fóruns sobre esse problema, mas não consigo fazê-lo funcionar. Aqui está parte do código que estou usando, a lista de proxies vem do site https://www.sslproxies.org/
p = get_proxies()
p_pool = cycle(p)
url = 'https://youtube.com'

for i in range(1,50):
    proxy = next(p_pool)
    print("request #%d"%i, proxy)
    try:
        response = requests.request(url, proxies={"https": proxy, "http": proxy}, timeout=10)
        print(response.json())
    except:
        print("Skipping. Connection error")

Recebo sempre a mesma mensagem de erro:
request #1 118.200.73.124:8080
Skipping. Connection error
request #2 103.242.44.80:8080
Skipping. Connection error
request #3 82.200.233.4:3128
Skipping. Connection error
request #4 109.75.47.248:53422
Skipping. Connection error
request #5 181.117.176.236:61358
Skipping. Connection error

Como posso fazer este código funcionar?
Muito obrigado!


text:
Stevens Point man arrested for 10th OWI offense
Law_Crime
By - Associated Press - Sunday, February 23, 2014
STEVENS POINT, Wis. (AP) - A Stevens Point man has been arrested for his 10th drunken-driving offense.
A Stevens Point Journal Media report (https://wrtnews.co/1frsHy5 ) says the 38-year-old is set to make an initial court appearance March 10.
Portage County deputies arrested him Friday about 1:30 a.m. after finding his car in a ditch in the town of Linwood. A judge ordered him held on a $25,000 cash bond pending the filing of formal charges.
Evidence of planned attack on Capitol undercuts Dems' incitement claim
The man was on supervision for his ninth operating-while-intoxicated conviction when he was arrested. His first conviction was in 1994.
Assistant prosecutor Cass Cousins says the man's blood-alcohol level was 0.27 percent, more than three times the legal limit.
The man has served four prison terms for drunken-driving convictions. He was also convicted of felony escape.
Information from: Stevens Point Journal Media, https://www.stevenspointjournal.com


text:
Social Media Weekend
#NYTReadalong (2021)
Alan Katz (Dec. 19, 2021)
Kim Todd (Dec. 12, 2021)
Clyde Haberman (Dec. 5, 2021)
Walter and Kaye (Nov. 21, 2021)
Linda Greenhouse (Nov. 14, 2021)
Ozier Muhammad (Nov. 7, 2021)
Maureen O'Donnell (Oct. 31, 2021)
Tina Jordan (Oct. 24, 2021)
Terence Smith (Oct. 17, 2021)
Nancy Ringham Smith & Chris Smith
Jarrett Adams (Oct. 3, 2021)
Jeanne Pinder (Sept. 26, 2021)
Johnette Howard (Sept. 19, 2021)
Peter Marks (Sept. 12, 2021)
9/11 Special Section (Sept. 1, 2021)
Sarah Maslin Nir (Sept. 5, 2021)
Tina Kelley (Aug. 22, 2021)
Lee Clontz (Aug. 15, 2021)
Neil Amdur (Aug. 1, 2021)
Shashank Bengali (July 25, 2021)
Philip Bump (July 18, 2021)
Margalit Fox (July 11, 2021)
Tribute to Rich Meislin (June 27, ...
Jonathan Boorstein (June 27, ...
Cate Doty (June 20, 2021)
The Pentagon Papers II (June 6...
The Pentagon Papers I (June 6, 2021)
John Branch (May 30, 2021)
Barry Meier (May 23, 2021)
Lisa Napoli (May 16, 2021)
Get Social! Click here to watch and comment on:
Facebook | Twitter | LinkedIn | YouTube
This week, we'll be "reading" The Washington Post; join us for the #WaPoReadalong. Our guest is Washington Post National Correspondent Philip Bump, who is focused largely on the numbers behind politics. Click here for his latest articles. Before joining The Post in 2014, he led politics coverage for The Atlantic Wire. Two years ago, Washington Post Senior Editor Marc Fisher was our guest on the show, which we livestreamed from his dining room table. (This was obviously before the Pandemic.)
We'll talk to Philip about his career and review the Sunday print edition of The Washington Post, focusing on the layout, graphic design, ads and more.
Click here for our show with Marc Fisher (on Facebook).
In addition to the show with Marc, we've also focused on The Globe and Mail, Politico, The Khaleej Times (Dubai) and other local papers when Sree was traveling. Usually we focus on The New York Times; the show's official name is @Sree's Sunday #NYTReadalong. Click here for our YouTube Playlist.
Neil Parekh is our Executive Producer and Guest Host. Our Production Team includes: Paula Kiger, Steve Taylor, Julia Weeks and Carla Baranauckas.
Subscribe to Sree Sreenivasan's YouTube channel.
If you're interested in having our team produce a virtual event for you, or are looking for sponsorship opportunities, please contact us.
Thank you to MuckRack for your support of the #NYTReadalong.
Let's Do Something Great Together!
© 2021 Digimentors


A proposed smoking ban lights a fire under opponents.
In the latest public policy battle going on in Fort Worth, it's butts, so to speak, that are on the line. A much stricter smoking ban being considered by city leaders has riled the passions of smokers, non-smokers, and bar and restaurant owners, and it promises to leave a lot of people unhappy however it is resolved.
In the last several years, Texas cities from Houston to El Paso to Arlington have toughened their laws limiting smoking in public places. Earlier this month, State Sen. Rodney Ellis of Houston proposed a statewide ban on public smoking, to be considered when the legislature convenes in January. Last May, Fort Worth got on the bandwagon when the city council appointed an ad hoc committee to discuss ways to strengthen the city's smoking law, which has been in place since 1997.
Under Fort Worth's existing law, bars, office buildings, billiard halls, bingo parlors, and bowling centers are exempt from regulation, provided that they install the proper filtration and ventilation equipment. Restaurants can allow smoking if they have fewer than 50 seats or provide a designated smoking area with the proper ventilation system.
In October, the committee recommended that all public enclosed places be 100 percent smoke-free and proposed an additional ban on smoking within 20 feet of an entrance or operable window of any non-smoking facility. Some of the exceptions provided by the proposal include outdoor patios not within 20 feet of a main entrance, private clubs, and hotel/motel rooms.
The committee is still reviewing the ordinance, because the council asked the panel to collect more data on other cities' ordinances and the law currently in place, according to several committee members. The council will not vote on the ordinance before January at the earliest.
The proposal was adopted by the committee on a 13-1 vote — but not before alienating a segment of the population who feel that they are being used by ladder-climbing politicians and interest groups. Some of the most outspoken critics of the ban are bar and restaurant owners who feel the government is overstepping its authority.
Some bar owners say the proposal will drive a lot of bar business completely out of Fort Worth and may force some bars here to shut their doors. But there's not even unanimity among bar owners. Those who also sell substantial amounts of food — and some who don't — are in favor of it.
Even though passage of some form of tightened regulation looks inevitable, council reaction also makes it seem likely that the eventual policy won't be as tough as the committee proposed. Councilman Carter Burdette has been openly critical of the ban. Silcox acknowledges that the council is likely to compromise on the law. But he and others hope that a statewide ban will eliminate the need for the local ordinance.
Critics of the proposal, such as O.C. Drumm, owner of Smokes, Etc., a retail chain that allows smoking in its stores, believe that a ban would adversely affect the city's restaurants and bars. "It would drive business away from Fort Worth," said Drumm.
MGT of America, an independent research group based in Austin, did a study on the impact of smoking ordinances in Houston and Dallas and concluded that the laws did not adversely affect sales in the restaurant sector. In fact, researchers found that restaurant sales in Dallas increased slightly after the ordinance went into effect. Those who are opposed to the ban are quick to point out that Fort Worth's proposed ordinance is stricter than those in Houston and Dallas.
Kamm and others also point to the health risks associated with secondhand smoke. A study released in May by the Associated Press found that approximately 15,000 people who have never smoked a cigarette die from lung cancer each year in this country — about 9 percent of the 164,400 annual U.S. lung cancer deaths. The ban, according to Kamm, would protect both patrons and employees from such smoke.
McKinney and other opponents of the proposal also charge that the committee is disproportionately weighted in favor of those who wish to ban smoking. Each member of the city council nominated a person without input from the mayor. The public health department nominated the rest of the committee, in an effort to provide a variety of perspectives. Of the 16 committee members, only three, including McKinney, are in the bar/restaurant business, whereas four members represent organizations such as the American Cancer Society and the Fort Worth Tobacco Free Coalition. Two others from the bar/restaurant business were invited to join but were unable to participate.
Critics also point out that in 1997, Mayor Moncrief, then a member of the Texas Senate, authored a bill that banned smoking in state buildings — including legislators' offices and the governor's mansion. Although the mayor had nothing to do with appointing the committee, those who oppose the ban fear that Moncrief's earlier actions mean the scale is weighted even more against them. Smokers, they figure, are the newest mistreated minority.
Restaurant owners are also upset that they had to spend tens of thousands of dollars on ventilation systems to comply with the 1997 law. Both Tschetter and Rotman say that it is disappointing that they will no longer use the systems, but they chalk it up to progress.
Some owners of bars that serve little or no food figure Rotman and Tschetter are just two more strikes against them. They figure that owners of food-service bars want all bars to be subjected to the same level of regulation that they have to endure.
Not every bar owner is opposed to the ban. Matt McEntire, owner of the Shamrock Pub, believes that the proposed ban would protect people's health. "Smoking can definitely damage your health," said McEntire. "I think they're looking out for the people." He also said that if the ban were to go into effect, he is prepared to add a patio to his business.
James White shares the sentiment of a fairly good cross-section of people at the café. While he doesn't smoke, he doesn't mind if other people smoke around him.
The anti-smoking movement, in addition to raising awareness concerning the health risks of smoking, has taken on big tobacco at every turn, costing them billions of dollars in lawsuit settlements and advertising dollars. Not even Joe Camel was cool enough to survive the growing anti-smoking sentiment felt nationwide. Countless cities, states, and entire countries have enacted smoking bans and restrictions. Even the black-lunged French have snubbed out their clichéd cigarettes, under the banner of public health.
So — smoke 'em if ya got 'em. While you still can.


The bonfire's growing by the day. It must be twelve feet in diameter. More than ten feet high.
Bruno admires his handiwork. A placard. Three foot high and six foot wide.
It says SITE TRAFFIC ONLY on the back. He's tried painting it over but you can still make out the words.
Bruno's misjudged the spacing. He's had to squeeze the final letters in. The B at the beginning is almost twice the size of the final T of Night.
'We're listening to local people.' Bruno says on cue. Dutifully. Mechanically. As though he's reading from a script.
I've learnt my lines as well.
It says so in Helvetica beside our corporate logo. It must be true.
'Apart from Elsie Tanner.' I add, veering off the party line.
We've had a letter from Elsie Tanner. Complaining that the bonfire is unsightly. An eyesore. Almost certainly a nesting ground for rats.
Lester gives an exaggerated sigh.
'I had a couple of conversations.' I make a show of looking through my notes.
It's late. Too late. I ought to be at home. Not in the bungalow with Bruno. Cross checking drawings against reports. I must improve my life work balance. Bruno ought to work on his.
I look up from my desk.
I join him at the window. Look out across the field. At the arches and the doorways and the turrets and the towers.
We look out across the darkness. Lost in thought.
'It must be the Surveyors.' I say half-heartedly. I don't believe it for a moment. I'm trying to reassure myself.
I've lost my nerve. I'm tired.
We start to whisper. As if there's a real risk we could be heard across the field.
We are standing in the darkness, side by side. I can hear Bruno breathing. I'm suddenly self-conscious in his company. Embarrassed by the darkness; the proximity; the silence. By the heightened sense of fear.
The torchlight's visible again. Flickering, uncertain. My heart is thumping with anticipation, fear, adrenaline. I swear I can hear his heart beating too.
A figure emerges from the doorway. A shadow in the darkness. Tall and straight and regal. A stately silhouette.
Linda struggles with her bounty. It's heavier than it looks.
A sturdy metal cabinet. Six metal draws. Taped around the edges. Protected from the ravages of dust and damp and time.
Three engraved initials. Illuminated by two competing beams. The white light from her mobile and the temperamental flicker from the wind-up torch that never works. Bombastic gold italics. Disproportionately grand. I. V. G. Irene Violet Grover. Self-important. Over-dressed. Clinging to a grandeur from another place, another world. Designed to grace mahogany or leather, not a modest filing cabinet in sturdy stainless steel.
It didn't take her long to find it. To pick up on the comment that her Grandmother let slip. To recall that Irene had a War Room. A headquarters. A place to direct manoeuvres, despatch orders. To plot, to plan, to strategise. To stow the spoils of war.
It's not like her grandmother to give away her secrets. She's not as clever as she used to be. She has begun to lose her grip.
Bruno taps his fingers on the desk; the agitated rhythm of the theories that are racing through his mind.
I'm suddenly exhausted. I should have been home hours ago. I've had enough of Linda Kirkby and her grandmother. I should be with my kids.
Linda goes upstairs to Billy's bedroom. Tiptoes past his bed. Pauses for a moment to look at Billy sleeping. The Star Trek pyjamas are half way to his elbows. She'll buy a new pair at the weekend. She wonders for a minute or two just what it is she's feeling. Is this maternal instinct? It isn't nearly as intense as other people make it sound.
She fumbles for the box that Billy keeps beneath his bedside table. Searches through his treasures. A ticket from a football match, certificates from school. A piggy bank, his wallet and three American dollars. A miniature Chewbacca and a clutch of foreign stamps. It takes a minute or two before she finds his penknife. He's put it in some sort of case. Not the box it came in. An aluminium tin with his name stamped on the top.
She glances at the gap between the curtains. Across the field to Macey's Lodge. She knows they're out there. Dee and Bruno. Standing with the lights out. Looking out across the darkness like a pair of star-crossed lovers. She resists the urge to wave.
Linda slices through the masking tape. A straight clean cut around each edge of every drawer. She opens the top drawer first. Six manila files. Stocks and shares and property deeds. She turns to the next drawer down. She's hit the jackpot. Exactly as predicted. Lilac Basildon Bond. The Last Will and Testament of Irene Violet Grover. Hand-written in purple ink.
She pauses for a second before she tears it open. She is tempted, for a moment, to tear the whole thing up. To throw it on the fire. Not to look at it at all. She has already determined that she will pay it no attention. Unless, of course, Irene has done the decent thing and left her everything.
A single line of text.
Look behind the symbol of a reason for a war.
For goodness sake, thinks Linda. What's the symbol of a reason? What's a reason for a war?
Another bloody riddle. When will her grandmother grow up?
'You owe me one.' Says Bruno.
We don't talk for a while. It takes all our concentration to navigate the staircase. It's tricky in the darkness. There's a banister of sorts, but it's broken off in places. Bruno's brought a torch. The headlamp from his bike. It gives off a decent light. But it's difficult to hold.
We make it to the bottom. Bruno holds the headlamp out in front of us. A long, low passageway. A maze of copper pipes on either side. A doorway at the end.
Bruno says 'Are you OK?' Which makes me think he isn't. It's worse for him. He doesn't have the headroom. He stands at an odd angle. A forced lop-sided slouch.
Bruno's breathing seems too loud, too slow, too heavy. It echoes all around us. Bounces off the pipework As though there's somebody behind us.
We've made it to the far end of the passageway. Twitchy, nervy, short of breath.
There's a steel plaque on the door.
Dark corners, nooks and crannies. Boxes, drawers and files. A row of metal cabinets. A pair of metal trunks. Six drawers high. Stainless Steel. Initials on the top. There's a gap where one's gone missing. It's a lot to go through with the headlamp from a bike.
There's a large map on the wall. A street map of St Anselm's. Quaint, compact, contained. Before the shopping centre and the Argos and the residential sprawl. A 1940s street map peppered with paper flags on pins.
I take the torch from Bruno. Pick out the writing on each flag. May McGinty; Peggy Tanner; Betty Bletchley; Nora Blake. Familiar local surnames. Christian names from years gone by.
There's a legend in the corner. To explain the colour-coded flags. Red for Ruby; green for Gala; cream for Coty; blue for Blaze.
I think of Irene as a young woman, a teenager. Mapping out her conquests. Masterminding her manoeuvres.
There's another map beside it. A different set of flags. A different set of names. Ernie Bradstock; Stanley Stamford; Leonard Hardy; Malcolm Hodge.
The lamp picks out the outline of an opening, a doorway. A sign above the map that says NO ENTRY. There's a No Entry symbol too. To reinforce the point.
Bruno's hand is shaking. The headlamp beam is flickering, flailing, failing. Everything seems stilted, in slow motion. Captured through the lens of a cinema projector. Like footage from the wartime. Vintage film in black and white.
I'm disorientated, dizzy. What with the cramped space, the confinement. The lack of space and light and air.
Bruno finds a shelf. A stable surface. Puts the headlamp in position. Its beam is strong and still and clear. There is a moment of composure, of gratitude, of calm. The room comes into sharp relief. Illuminated.
The headlamp isn't sitting on a shelf. It's sitting on an altar. Flanked by burnished silver candlesticks. Wreathed in waxen drips and droplets. A crystallised cascade.
It's not a room at all. It's a vault, an arch, a shrine. A tomb, a mausoleum.
A children's stretcher. So now I know what Billy Kirkby spotted in the hospital. What made him freeze with fear.
He can see it just as well as I can. He just doesn't want to say the word out loud.
Linda is back at Irene's bedside. She can't decide on tactics. Perhaps she should come right out with it. Confront her grandmother. Insist that she explains herself. Explains the riddle of the meaning behind the symbol of the reason. Just tell her in plain English exactly where she's put her will.
It isn't quite that simple. She knows her grandmother too well. Irene will love the chase, the game. She'll string the whole thing out forever.
She's tempted by brute force. She's quite enjoying the novelty of Irene frail and helpless. Lying there in bed. It shouldn't be that hard to put her hands around her neck. To throttle her. To squeeze. Until Irene's forced to speak.
Awkward if someone spots her. Tricky to explain.
She tries another tack. Dutiful granddaughter. She decides to make an effort to be nice.
Irene has that look again. As though she's seeing right through Linda, to another time, another world.
She's thinking of the things they used to burn. Wobbly tables, rickety chairs. Mattresses riddled with rot. Handy, for sitting round the fire. For gorging on potatoes speared on toasting forks.
Linda's not in the mood for this. Another trip down Memory Lane.
Irene struggles to explain it; to find the words her granddaughter will understand. The heady thrill of throwing out possessions, the extravagance, the excess. The adrenaline, the hedonistic madness. Irene can hear the fireworks, feel the heat. The chanting gets more vicious, more ferocious. The crowd works itself into a frenzy. Fuelled by cinder toffee, alcohol, the intoxicating cocktail of flames and smoke and heat.
Chanting, jeering, baying for blood.
Irene is choking too. Her throat is thick with soot. Her mouth and tongue are burning from the hottest hot potato. She can't see through the smoke.
Irene is misty-eyed and mumbling.
Doctor Tanner is a good listener. Professional. Understanding. Wears a sympathetic smile as Linda prattles on.
Thank. You. God. Thinks Linda. And thank you Dr Tanner.
She wants to give him something in return.
Something to look forward to. A ray of hope.
She leans towards him, lowers her voice. Proffers her own advice.
Dr Tanner looks a little startled. There is a glimmer in his eye. Excitement? Anticipation?
Irene wakes up with a start. Linda is looking at her thoughtfully. As though she's weighing something up.
Irene is irritated. She doesn't like being caught out like this. Caught napping. Just a catnap. It's undignified, unseemly.
Her granddaughter ignores her. At least, ignores the question.
Her tone is casual, conversational. But there's an odd look in her eye. Confrontational. Accusing. Not like her at all. Or perhaps it is. Perhaps she's changing. There's some hope for her after all.
Linda says 'Inside?' She's doing it again. Parroting her grandmother. One step behind.
Irene leans in towards her. Adopts a confidential tone.
Irene closes her eyes. 'So many illnesses.' She says.
She starts to sing. Or rather chant. Some sort of playground ditty.
Linda struggles to keep calm. To maintain her composure. She wants to slap her, shut her up. Bludgeon home the message that life isn't one big ditty, one big game. She struggles to ward off the hot frustration that has plagued her since her childhood. The stuttering, spluttering fury of a tongue-tied adolescent. Tortured by her inability to speak, to find the words.
She didn't mean to say it. She has surprised herself. A long-forgotten memory. A half-remembered outrage. She hasn't given it a second thought in years.
Now Linda sees it clearly. Looking from the landing window. The mix of outrage, horror, fear. The knowledge that she would pretend she hadn't seen it. Pretend to Irene. To herself.
She says 'I saw you put its body in the dustbin.' She is calmer now. Matter-of-fact.
Irene sighs. She's not sure she can summon up the energy to explain. Not after all these years. The cat was aggravating everything. Linda's allergies; her asthma. Hairs all over everything. It was an ugly little thing as well. One leg shorter than the others. A stump instead of a tail.
That's the problem with the younger generation. Too accepting of imperfection. So sentimental about life.
She didn't want to do it. God knows, she didn't enjoy it. It's harder than you think to throttle a cat with your bare hands.
She was thinking about Linda. And the furniture as well.
Dr Tanner lingers by the bedside. Like he always bloody does.
He stiffens slightly. Stung by the coldness in her voice.
Linda looks straight through him.
Good for you, thinks Linda. What do you want? A prize?
Dr Tanner can't understand it. He has rehearsed this conversation. It isn't going to plan. He pulls himself together. Linda has a lot to deal with. She must be worried sick. He is the professional. He can help her. See her through this. He can take control.
Linda crouches down by Irene's bed.
Linda is half way out the door before Irene replies.
The silence is oppressive, over-powering. Everybody's talking in hushed tones. As though illness is sacred. She longs for the clatter of the Infirmary. Chattering nurses, spluttering pipes. She's not sure how much longer she can bare it. The silence and the cold. The two go hand and hand. She likes to hear the heat. She keeps trying to tell the nurses. To stop their infernal whispering. To crank the heating up.
But no one listens to her now. Another pale old woman. She is nothing without make-up; her armoury; her weapons. That was Irene's battle. To pit English polish and perfection against Hitler's skewed ideas. His belief that women should be 'natural': lumpen, pallid, plain. She'll feel better once she has her war paint. Maybe then she'll find her voice.
Linda is standing in the doorway. Eyeing her grandmother in bed.
'We've had a complaint.' Says Lester.
Lester taps his keyboard. Finds the email. He wants to get this right.
I'm trying to choose my words.
I needn't bother. Lester has his hands over his ears. His words come out like bullets.
Linda Kirkby's wandered in. As though she has a right to be here. As though she works here too. She sits down on her sofa. Makes herself at home.
We all turn to look at Bruno. As if we've never looked at him before. As though we're not entirely clear about the colour of his skin.
Linda stands up and walks towards him. As though she needs a closer look.
If I didn't know any better I'd swear she'd just brushed Bruno's thigh.
Bruno and I stare after her as she slams the kitchen door.
I can hear her pottering the kitchen. In the kitchenette. I think she's tidying up.
Elsie Tanner strides into the bungalow. Puffed up. Self-important. Buoyed by the unequivocal support of sixty-seven residents. She has a petition. Against the plans to bring back Bonfire Night. The community is behind her. She has the signatures to prove it.
She's not sure who to give it to. Lester, me, or Bruno. And why is Linda Kirkby here? Fraternising with the enemy. It's unsettling, disconcerting. Elsie likes things to be black and white. Good and bad. Them and us. She doesn't like her boundaries to be blurred.
A gentle prompt. He really wants to help.
She doesn't want to hand it over. Not with Linda Kirkby here. She doesn't like the way she's looking at her. Enquiring. As though Elsie has no right to be here. As though she should state her business; justify her presence. Haughty. Like her grandmother. She really is just like her. It's strange she's never noticed it before.
I read it over Bruno's shoulder. There is a long list of concerns. The threat to wildlife and ecology. The risk of drunk and disorderly behaviour. Possible pressures on the local police force. The implications for the public purse.
There's a paragraph on fireworks. About the psychological impact of loud noises. Especially with regard to household pets.
He hands Elsie her petition.
Elsie looks deflated. It wasn't meant to be like this. She was going to brandish it triumphantly. Thrust it in their faces. Take the wind out of their sails.
She can't help feeling she's been tricked.
Irene longs for oblivion. Respite from recollections; nightmares; dreams. The insistent spiteful chanting; the stench of burning flesh.
Linda carries on, as though she's talking to herself.
Elsie Tanner makes a sound I can't decipher. Despondency? Dismay? Despair?
Elsie Tanner has found her tongue.
Linda smiles serenely. Bruno looks a little startled. I am fiddling with my laptop.
Linda's phone is ringing. Thank God for the distraction.
Linda turns to Elsie Tanner. She pauses for a moment. Before delivering her punch line. Before she has the final word.


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From the moment you arrive at our Salado golf course and take in the view of the tree-lined fairway some 40 feet below, you'll know you are in for a fun and challenging round of golf. After you play your first tee shot, you will be excited to see what comes next. The Mill Creek Golf Course is 27 unforgettable holes designed by Robert Trent Jones, Jr. and suitable for players of all levels.


Tyler Perry's plays, I often wonder is she that type of person too, in real life. You know how we are as fans, we think the characters, the actors play on television, are how they are suppose to be when we meet them. And judging from Tamela Mann's acting ability, if I was to describe her, I would say, she is a very sweet, God fearing woman. And when you compare her role as Cora to her as Tamela Mann in real life, it seems like you really can't separate the two.
One thing, that I have learned about Tamela Mann is she did not get her start in Tyler Perry's plays.
She actually got her start with Kirk Franklin and the Family. Two songs, that I have heard my mama singing and I have known since I was in middle school, which I didn't know Tamela Mann sung in at the time, is Now Behold the Lamb and Silver and Gold. And that song Silver and Gold can really take us to church.
When I think about Tamela's singing voice and her acting, I don't know which one is my favorite. I love them both, because I can see the God in her wherever she may find herself. But, if you were to ask Tamela which one she would prefer, she would definitely say singing. She says her singing and acting are both a gift from God, but singing is her passion and where her success started.
her as one of the star actress in many of his self written plays, his self written movies, and even a television show around her role in his plays called Meet The Browns, which also stars her husband David Mann.
She did an interview earlier in 2013 with JET Magazine and talked about how she started in her church's choir at age eight and move to the senior choir by age 12. She says that church taught her how to be a woman, love herself, and regardless of what others thought about her, the church gave her stability.
One thing most music artist have in common is they start from an early age noticing the gifts and talents they have. Unlike, other kids growing up listening to R&B, soul music, and The Blues, Tamela Mann says her mother would only allow Gospel Music to be played in their home. She is the youngest of 14 kids and says it was all about Faith and God in her mom's house.
This is the 90s Tamela Mann, rocking a red color hairstyle.
called, I Don't Feel No Ways Tired. The song went very well and she got so moved by it, that she started crying. At the time she didn't know what she was feeling or why she was crying, but every time she sung that song the spirit of God would take over her, and this is why music became her passion.
Shortly after high school, Tamela met three men that would forever change her life. Those men were David Mann, who is now her husband, her pastor Darrell Blair, and their friend Kirk Franklin. Kirk Franklin who helped launched her singing career, recruited her to be apart of his ground breaking group, The Family. Her career with Kirk Franklin involved singing on five of his albums.
Another door of opportunity was open for Tamela Mann when she started her acting career, by landing a role in a play called He Say...She Say...But What Does God Say? Tyler Perry notice Tamela's acting skills and chose her to appear in his play I Can Do Bad All By Myself. And the rest is history!
Tamela Mann says she finds her joy in touring and ministering to people all over the world. I see the hope and encouragement it gives people and it's something I will do until I die. I will do this until the Lord calls me home, because this is one sure way that I know I can tell people about Him, so He can be glorified and I will never stop, because I love it so much says Tamela Mann.
I enjoy them so much: David and Tamela Mann, you can just call them world's best couple.


Previous early-phase clinical studies have demonstrated that BGJ398 was active and well tolerated in a variety of FGFR-altered cancers.
Although targeted therapy with anti-PD-L1/PD-1 agents (eg, pembrolizumab, atezolizumab) improved survival outcomes among patients with mUC compared with standard platinum-based chemotherapy, treatment response rates are discouraging. Previous early phase clinical studies have demonstrated that BGJ398, a novel agent that targets FGFR (a commonly occurring alteration in UC), was active and well tolerated in a variety of FGFR-altered cancers.
In this phase 1 study, researchers enrolled 67 previously treated patients with mUC who had FGFR3 mutations and treated them with oral BGJ398 125 mg daily; all had failed, were intolerant of, or were contraindicated for platinum-based therapies. Patients received MRI or CT scans at baseline and every 8 weeks thereafter. After therapy discontinuation, disease progression was assessed every 4 months for 1 year, and survival for up to 2 years.
Results showed that the overall response rate, including complete (CR) and partial responses (PR), was 25.4%, and the disease control rate was 64.2%.
Patients who achieved CR or PR had an estimated median duration of response of 5.06 months (95% CI, 3.91-7.36), and the estimated median duration of stable disease among patients whose best response was stable disease was 2.0 months (95% CI, 1.84-3.45).
The estimated median progression-free survival was 3.75 months (95% CI, 3.09-5.39) with 46 progressions and 5 deaths. The estimated median overall survival was 7.75 months (95% CI, 5.65-11.60) with 41 events.
The most frequently reported treatment-related adverse effects included constipation, elevated creatinine, fatigue, decreased appetite, and hyperphosphatemia.


text:
Q: Httpclinet getasync resetting cookies I'm working on a cross platform app targeting windows phone8, windows 8, android and Ios. The app needs to get some data from the internet and reuse the data accordingly. So I have a project with few classes inside. One class to Sign in to the website and get the required cookies for further use. Below is the code from this class:-
public static CookieContainer Cookiejar { get; private set; }

    public static async Task<CookieContainer> GetCookies()
    {
        var uri = new Uri("https://mywebsite.com");
        Cookiejar = new CookieContainer();
        var handler = new HttpClientHandler
        {
            CookieContainer = Cookiejar,
            UseCookies = true,
            UseDefaultCredentials = false
        };
        var client = new HttpClient(handler);
        client.DefaultRequestHeaders.Accept.Add(new System.Net.Http.Headers.MediaTypeWithQualityHeaderValue("application/x-www-form-urlencoded"));
        HttpContent content = new FormUrlEncodedContent(new[]
        {
            new KeyValuePair<string,string>("username","user"),
            new KeyValuePair<string,string>("password","user1234"),
            new KeyValuePair<string,string>("customer","AAAA"),
            new KeyValuePair<string,string>("doLogin","Logga+in"),
            new KeyValuePair<string,string>("language","se")
        });
        await client.PostAsync(uri, content);
        return Cookiejar;
    }

Another class is used to get the actual data. I'm passing the CookieContainer from the first class which has CookieHandler as name to the other class which has DataHandler as name. The problem I'm facing is when I use this code in windows phone 8 project and whenever I call httpclient getasync it acts as if I didn't pass the cookies and reset it to xxxxx and the response will be only the log-in page instead of my desired page. Below is the code for DataHandler class:-
public string Response { get; private set; }

    public async Task<string> GetResponse(Uri uri)
    {
        HttpClientHandler handler = new HttpClientHandler();
        handler.UseCookies = true;
        handler.CookieContainer = CookieHandler.Cookiejar;
        HttpClient client = new HttpClient(handler);
        client.DefaultRequestHeaders.Accept.Add(new System.Net.Http.Headers.MediaTypeWithQualityHeaderValue("application/xhtml+xml"));
        var response = await client.GetAsync(uri);
        string webresponse = null;
        if (response.IsSuccessStatusCode)
        {
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            Encoding encode = Encoding.GetEncoding("iso-8859-1");
            var respString = encode.GetString(resp, 0, resp.Length - 1);
            webresponse = respString;
        }
        handler.Dispose();
        client.Dispose();
        response.Dispose();
        return Response = webresponse;
    }

Been looking into this problem for few hours now and tested every possible tips I found here and on the net, but nothings work. OBS!!! the cookies are not HtmlOnly and not secure. What really gets me confused is the fact that if I use this exact same code in a windows 8 project it works perfectly but not in windows phone 8 project. Worth noting i'm using the latest BCL system.net.http lib.
Any help and suggestions are more than welcome.

A: Just wanted to answer this question which might be bothering other developers around the World.
First i would like to thank TheESJ for heading me to the right direction.
Now lets start with what i changed/added to my code to workaround this problem.
I just added the following code lines to my initial POST method:-
var wwwUri = new Uri("https://www.mywebsite.com");
Cookiejar.SetCookies(baseUri, Cookiejar.GetCookieHeader(wwwUri));

It appears that in Windows Phone there is '.' in the cookie header (description below), the above code will make a copy of your cookies with the correct header.
Before I applied the above code lines and the CookieContainer in debugger and look at the m_domainTable it had one item with a value {[.mywebsite.com, System.Net.PathList]} eventhough the domain property value is 'mywebsite.com' without '.', while in Windows store app it hade one item with a value {[mywebsite.com, System.Net.PathList]} and the domain property value is 'mywebsite.com'.
After I applied the above code and it worked I debugged and check CookieContainer, the m_domainTable have now two items, one with this value {[.mywebsite.com, System.Net.PathList]} with the domain property value is 'mywebsite.com' and the other with this value {[mywebsite.com, System.Net.PathList]} and the same domain property value. That is why it's sending the right cookie now as it is sending the 2nd cookie {[mywebsite.com, System.Net.PathList]}.


The map is ordered data structure of key-value pairs. To sort map, We have to write a custom to handle this, For example, we have a map of string key and int values. Printing the map returns map data in random order, the order is not guaranteed.
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Grade 12 / Standard 10 with an E symbol or 40% and higher pass in English and Mathematics.
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The celebration of original one-acts returns for its third year. Written by women all over the world and directed by women from across the Twin Ports, this series of short plays highlights women voices and everything they have to say.
What She Said: One-Act Festival, runs from March 21-23 at 7:30 p.m.
Tickets are available anytime online, by calling 218-733-7555 or in-person at the box office during regular business hours.


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text:
Detroit Lions 2017 Season Preview
August 28, 2017 /in NFL Preview /by Justin Mears
The Detroit Lions were arguably the NFL's greatest enigma in 2016, as no matter how hard you tried you just could not quite figure them out. After winning a wild opening day game with Indianapolis, Matt Stafford and company proceeded to lose their next three contests, including division clashes with the Packers and Bears, dropping them to last place in the NFC North. However, from the middle of October to the middle of December they then reeled off eight wins in nine games, setting them up to potentially win their division, before collapsing down the stretch, losing their final three games and thanks to a little luck, limping into the playoffs where they proved to be a noncompetitive first round opponent for Seattle. Much of the Lions core remains intact heading into the upcoming campaign, but this team will need to find a way to be more consistent if anyone is going to take them seriously.
2016 Record: 9-7
Notable Additions: G T.J. Lang, LB Paul Worrilow, OT Rick Wagner, DE Cornelius Washington, CB D.J. Hayden, DT Akeem Spence
Notable Subtractions: WR Anquan Boldin, LB DeAndre Levy, OT Riley Reiff, G Larry Warford
Notable Rookies: LB Jarrad Davis, CB Teez Tabor, LB Jalen Reeves-Maybin
The Lions may have collapsed and self destructed down the stretch last season, but you can't really pin any of the blame for that on quarterback Matt Stafford. The University of Georgia product threw for over 4250 yards for the 6th consecutive season, and impressively put up monster numbers in the first season since losing all-pro wideout Calvin Johnson to retirement. Detroit had to spend significant free-agent dollars to address two openings on the offensive line, notably snagging veteran T.J. Lang away from the division rival Packers, but that simply had to be done to protect their franchise QB. The Lions greatest off-season need however was on defense , more specifically the pass rush, and the team is banking on the free-agent additions of Cornelius Washington and Akeem Spence significantly improving their ability to get to the quarterback. Replacing defensive captain DeAndre Levy won't be easy but Detroit is hopeful first round pick Jarrad Davis can develop into a defensive signal caller.
https://baselinetimes.com/wp-content/uploads/2017/08/detroit.png 423 1210 Justin Mears https://baselinetimes.com/wp-content/uploads/2017/04/BTheader.png Justin Mears2017-08-28 21:15:462017-08-28 21:47:35Detroit Lions 2017 Season Preview
Baseline Times Media LLC is not affiliated with the MLB, NBA, NFL, NCAA sports, and any other respective organization. All logos and team names referenced are properties of their respective organizations and universities. All opinions and views shared solely represent those of the author and not that of the MLB, NBA, NFL, NCAA, or any other sports organization.
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text:
"use strict";

import "source-map-support/register";
import {bootstrap} from "angular2/platform/browser";
import { App } from "./component/app/app";
import { ipcRenderer } from "electron";

// FXIME: setting
let captureBrowserConsole = true;
if (captureBrowserConsole) {
    let oldConsoleLog = console.log;
    let oldConsoleError = console.error;
    console.log = function(...params: any[]) {
        ipcRenderer.send("console-log", ...params);
        oldConsoleLog.apply(console, params);
    };
    console.error = function(...params: any[]) {
        ipcRenderer.send("console-error", ...params);
        oldConsoleError.apply(console, params);
    };
}

bootstrap(App).catch(e => console.error(e));

redpajama_set_name: RedPajamaGithub


text:
O valor aduaneiro é efetivamente o valor de transação de mercadorias importadas.  Dessa forma, todas as mercadorias sujeitas ao despacho de importação e que suspeite-se de alguma incoerência referente ao valor da mesma, serão submetidas à valoração aduaneira, que basicamente é uma análise para determinar se o valor declarado está correto.  No Acordo de Valoração Aduaneira,  conhecido como AVA-GATT, os métodos de valoração aduaneira foram padronizados em 6 formas. A escolha do método sempre será em ordem crescente - se a mercadoria não se enquadrar no primeiro método, usa-se o método seguinte, e assim por diante.

O valor aduaneiro é  formado por:

 Custo de transporte do produto importado até o território alfandegário;
 Custo da mercadoria assim como as taxas de manuseios da mesma;
 Prêmio do seguro do bem ou serviço importado.

Comércio internacional