text:
Q:  Insert instead of stretching to the full height There is a code

let cataloglistbutton=document.querySelector('.catalogbutton');
        cataloglistbutton.onclick = function () {
            console.log('Before');
            if (document.getElementById('dropdownwindow').style.display="none")
            {
                document.getElementById('dropdownwindow').style.display="block";
                console.log(document.getElementById('dropdownwindow').style.display);
                document.getElementById('dropdownwindow').style.marginRight="40%";
                document.getElementById('dropdownwindow').style.marginBottom="0px";
            } else {
                document.getElementById('dropdownwindow').style.display="none";
                console.log(document.getElementById('dropdownwindow').style.display);
                document.getElementById('dropdownwindow').style.marginRight="100%";
                document.getElementById('dropdownwindow').style.marginBottom="0px";
            };

            console.log('After');

        }
$* {
  list-style: none;
  text-decoration: none;
  margin: 0;
  padding: 0;
}

    .menu {
      position: relative;
      width: 300px;
    }

    .menu ul {
      list-style-type: none;
      margin: 0;
      padding: 0;
    }

    .menu li {
      padding: 0.5em 0 0.5em 0.3em;
      cursor: pointer;
    }

    ul.level1 {
      border: 1px solid thistle;
    }

    ul.level1>li {
      background-color: #fff;
      border-bottom: 1px solid thistle;
        display: flex;
  flex-direction: row;
  align-items: center;
  justify-content: space-between;
    }

    ul.level1>li:last-child {
      border-bottom: none;
    }

    ul.level2 {
      position: absolute;
      top: 0;
      left: 100%;
      width: 559px;
      height: 100vh;
      padding: 0.5em 0.3em 0.5em 0.3em;
      background-color: #fff;
      border: 1px solid thistle;
      visibility: hidden;
      white-space: nowrap;
      column-count: 2;
    }

    ul.level2>li {
      padding: 0;
      border-bottom: 1px solid #fff;
    }

    ul.level2>ul>li {
      padding: 0;
    }

    ul.level2>li>ul>li {
      padding: 0;
    }

    ul.level1>li:hover ul.level2 {
      visibility: visible;
    }

    ul.level2 > li.submenu > ul > ul.innerUL>li.submenu__title {
    padding: 0;
    margin: 0;
    margin-bottom: 5px;
}

    ul.level2 > li.submenu > ul > ul.innerUL>li.submenu__item {
    padding: 0;
    margin: 0;
    /*margin-bottom: 5px;*/
}

    .menu a {
      color: #333;
    }

    .alignblock {
      text-align: center;
      vertical-align: middle;
    }

    .submenu__title {
      margin-bottom: 5px;
    }

    .submenu__title a {
      display: block;
      color: black;
      font: 13px Roboto, Tachoma, Arial, sans-serif;
      /* line-height: 1.5; */
      text-decoration: none;
      padding: 3px 5px;
    }

    .submenu__item {
      /* margin-bottom: 0px; */
    }

    .submenu__item a {
      display: block;
      color: gray;
      font: 13px Roboto, Tachoma, Arial, sans-serif;
      text-decoration: none;
      padding: 3px 5px;
    }

.leftside {
  margin-left: 16px;
  display: inline-block;
  width: 30px;
  height: 30px;
  display: flex;
}

.rightside {
  margin-right: 16px;
  /* display: none;*/
  visibility: hidden;
  width: 30px;
  height: 30px;
  display: inline-flex;
}

.centerplace {
  width: 328px;
  display: inline-flex;
  align-items: center;
  justify-content: center;
}

.nestedblock{
  display: inline-flex;
  align-items: center;
  justify-content: center;
  margin:0 auto;
}

#sidemenu.-short {
  flex-direction: column;
}

#sidemenu.-short .centerplace,
#sidemenu.-short .centerplace .nestedblock,
#sidemenu.-short .rightside {
  display: none;
}

.contentpart {
    display: grid;
    grid-template-areas: "leftsidemenu centercolumn rightsidemenu";
    grid-template-columns: 300px 1fr 245.8px;
    /*height: 100vh;*/
    margin: 0;
    grid-area: centerpart;
}

.leftmenu {
    grid-area: leftsidemenu;
}

.centerarea {
    grid-area: centercolumn;
    background-color: rgb(255, 255, 255);
}

.rightmenu {
    grid-area: rightsidemenu;
}

#pageHeader {
    grid-area: header;
    width: 100%;
}

#pageHeader .headerinsides {
        padding-left: 65px;
        padding-right: 65px;
        padding-top: 10px;
        padding-bottom: 10px;
        width: 100%;
        display: flex;
        justify-content: space-between;
        font: 18px "PT Sans",sans-serif;
        /*align-items: center;*/
}

.icon {
        align-self: center;
}

#pageHeader .labelforicon {
        padding-left: 10px;
        align-self: center;
        font: 18px "PT Sans",sans-serif;
}

.flexcitylink {
        display: flex;
        flex: 60px;
        width: 100%;
}

.flexcitylinkwrapper {
    display: flex;
}

/*
.headerparamswrapper {
    display: flex;
    margin-left: auto;
}
*/

.intermediatespace {
        margin-left: auto;
        flex: 30%;
}

.telephonenumber {
        margin-left: auto;
        flex: 30%;
}

.addressandworkschedule {
        margin-left: auto;
        flex: 20%;
}

.payment {
        margin-left: auto;
        flex: 10%;
}

.delivery {
        margin-left: auto;
        flex: 10%;
}

#pageHeader .headerinsidessecondrow {
        padding-left: 0px;
        padding-right: 0px;
        width: 100%;
        height: 57px;
        display: flex;
        /*justify-content: space-between;*/
        align-items: center;
        font: 16px "PT Sans",sans-serif;
}

.catalogbutton{
    margin-left: auto;
    margin-right: auto;
    flex: 22.5%;
    height: 41px;
}

.betweenspace {
    flex: 7.5%;
}

.inputsearch {
    margin-left: auto;
    flex: 80%;
    height: 41px;
    /*border-bottom-width: 0px;*/
    /*height: 32px;*/
}

.searchbutton {
    margin-left: auto;
    flex: 20%;
    height: 41px;
}

.findinfo {
    flex: 40%;
    display: flex;
    justify-content: stretch;
}

.secondbetweenspace {
    flex: 10%;
}

.loginandsignup {
    margin-left: auto;
    /*margin-right: 0px;*/
    display: flex;
    align-items: center;
    flex: 10%;
    display: flex;
    justify-content: flex-start;
    align-self: center;
}

.basket {
    margin-left: auto;
    /*margin-right: 0px;*/
    display: flex;
    align-items: center;
    flex: 10%;
    display: flex;
    justify-content: flex-start;
    align-self: center;
}

/*#wholeblock {
    display: flex;
}*/

#dropdownwindow {
    display: none;
    left: 0;
    margin-right: 100%;
    height: 100vh;
}

#fullblock {
    height: 100vh;
}

#pageFooter {
    grid-area: footer;
    width: 100%;
}

.bodyclass {
    display: grid;
    grid-template-areas: "header" "centerpart" "footer";
    grid-template-rows: 100px 1fr 743px;
    height: 100vh;
    margin: 0;
}

/*
.cl-kit .FilterGroupNewDesign{
    margin-top: 5px;
}
*/

.FilterBlockNewDesign{
    margin-bottom: 50px;
}

/*
.cl-kit .FilterGroupNewDesign {
    padding-bottom: 10px;
    margin-bottom:5px;
}
*/

.b-footer__container {
    background-color: #000;
}

.text {
    font: 14px Roboto,Helvetica,Arial,sans-serif;
    /*margin-bottom: 5px;*/
    /*align-items: stretch;*/
    /*white-space: pre;*/
}
/*
.spaces {
    white-space: pre;
}
*/

.ProductCardBlock {
    width: 100%;
    display: flex;
    flex-direction: row;
    justify-content: stretch;
    height: 178px;
    /*position: relative;*/
}

.ProductCardBlock .ProductImage {
    /*width: calc(191.5/931.75)*100%;*/
    /*width: 20%;*/
    height: 100%;
    /*position: absolute;*/
    width: 220px;
}

.ProductCardBlock .ProductImage #ImageWrapper .ProductPicture {
    margin-left: 15px;
    margin-top: 20px;
    margin-right: 5px;
    /*position: absolute;*/
}

.ProductCardBlock .ProductDescription {
    /*width: 70%;*/
    margin-top: 20px;
    font: 14px Roboto, Tachoma, Arial, sans-serif;
    /*position: absolute;*/
    /*flex: 6;*/
}

.ProductCardBlock .ProductDescription .ProductName {
    margin-bottom: 15px;
    font: 16px Roboto, Tachoma, Arial,sans-serif;
    /*position: absolute;*/
}

.ProductScreenParams,
.ProductCpuType,
.ProductCpuFrequency,
.ProductRAMWrapper,
.ProductVideoCard,
.ProductDisksAndDrives {
    font: 14px Roboto, Tachoma, Arial,sans-serif;
    /*white-space: pre;*/
}

.ProductCardBlock .ProductDescription .ProductScreenParamsWrapper {
    font: 14px Roboto, Tachoma, Arial,sans-serif;
    padding-bottom: 0px;
    margin-bottom: 5px;
}

.ProductCardBlock .ProductDescription .ProductCpuTypeWrapper {
    font: 14px Roboto, Tachoma, Arial,sans-serif;
    margin-bottom: 5px;
}

.ProductCardBlock .ProductDescription .ProductCpuFrequencyWrapper {
    font: 14px Roboto, Tachoma, Arial,sans-serif;
    margin-bottom: 5px;
}

.ProductCardBlock .ProductDescription .ProductRAMWrapper {
    font: 14px Roboto, Tachoma, Arial,sans-serif;
    margin-bottom: 5px;
}

.ProductCardBlock .ProductDescription .ProductVideoCardWrapper {
    font: 14px Roboto, Tachoma, Arial,sans-serif;
    margin-bottom: 5px;
}

.ProductCardBlock .ProductDescription .ProductDisksAndDrivesWrapper {
    font: 14px Roboto, Tachoma, Arial,sans-serif;
    margin-bottom: 5px;
}

/*.ProductCardBlock */.ProductBuyPart {
    margin-top: auto;
    margin-bottom: auto;
    padding-top: auto;
    padding-bottom: auto;
    margin-left: auto;
    margin-right: 40px;
}

/*.ProductCardBlock .ProductBuyPart */.ProductAddToBasket {
    /*margin: auto;
    padding: auto;*/
    width: 80px;
    height: 40px;
    background-color: rgb(255,128,0);
    border-color: rgb(255,128,0);
    border-radius: 10px;
    color: white;
    /*position: absolute;*/
}

.IconFont_arrow_01_B:before{content:"\f103"}.IconFont_arrow_01_L:before{content:"\f104"}.IconFont_arrow_01_R:before{content:"\f105"}

                        <svg aria-hidden="true" class="Sg" width="16" height="16" fill="none" xmlns="http://www.w3.org/2000/svg"><path fill-rule="evenodd" clip-rule="evenodd" d="M8.057 8a2.012 2.012 0 01-2.019-2c0-1.103.906-2 2.02-2 1.113 0 2.018.897 2.018 2s-.905 2-2.019 2zm0-5C6.387 3 5.03 4.346 5.03 6s1.358 3 3.028 3 3.029-1.346 3.029-3-1.359-3-3.029-3zm0 11.777C6.852 13.5 3.01 9.177 3.01 6c0-2.757 2.264-5 5.047-5 2.784 0 5.047 2.243 5.047 5 0 3.174-3.841 7.5-5.047 8.777zM8.057 0C4.717 0 2 2.691 2 6c0 4.159 5.468 9.623 5.7 9.854a.509.509 0 00.714 0c.233-.23 5.7-5.695 5.7-9.854 0-3.309-2.716-6-6.057-6z" fill="currentColor"></path></svg>

                 Краснодар

                8 (800) 600 3900 (круглосуточно)

                    Адрес и график работы

                    Оплата

                    Доставка

<button class="catalogbutton">Каталог товаров</button>

        <input placeholder="Поиск среди 10000 товаров" class="inputsearch"></input>
        <button class="searchbutton">Найти</button>

        Вход и регистрация

        Корзина

As a result, after clicking on the Product Catalog button, the .dropdownwindow block is located above the site header, and not the entire height of the window. Tell me how to achieve stretching the block to the full height of the window.

Should be displayed as on


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text:
MIT Creates New Way to Remove Ice Buildup Without Chemicals
Rather than rely on environmentally harmful chemicals, these researchers took inspiration from the sun and developed a solar-powered way to combat ice.
By Shelby Rogers
Pxhere
While some parts of the world are still experiencing the sweltering summer heat, other places are already preparing for what could be a potentially brutal winter. That's the case for MIT researchers who developed a new way to combat ice buildup.
Ice plagues everything from airplane wings to powerlines to wind turbines during winter months. These issues can cause a domino effect until problems are resolved. Current prevention methods to deal with the ice involve energy-intensive heating circuits or dangerous chemical sprays involving ethylene glycol that prevent buildup entirely.
The MIT solution is relatively simple by comparison. It's a three-layered material that can be applied to surfaces and collects solar radiation. It converts that radiation to heat, and then distributes the heat so the melting doesn't only occur in the direct sunlight.
Source: The Varanasi Research Group
Associate Professor of Mechanical Engineering Kripa Varanasi worked with postdoctoral candidates Susmita Dash and Jolet de Ruiter on the project.
"Icing is a major problem for aircraft, for wind turbines, power lines, offshore oil platforms, and many other places," Varanasi said. "The conventional ways of getting around it are de-icing sprays or by heating, but those have issues."
Taking cues from the sun
As the MIT team pointed out, airlines opt for de-icing sprays with ethylene glycol to bypass active heating. Varanasi looked into using superhydrophobic surfaces to prevent icing, but those coatings can sometimes fall to frost which gives enough surface tension to stick.
Instead, the team wondered if there was "a way to capture [the sun's] heat and use it in a passive approach."
They discovered there was, and that producing a volume of heat to melt all of the ice wasn't needed. There only needed to be a layer where the ice meets the surface. That would be enough to create a thin layer of water -- a layer that would let the ice slip off the surface.
How the layers melt dangerous ice
How did the team manage to create such a slippery surface? They used the top layer as a sun absorber to trap light and convert it into heat. The efficient material absorbs 95 percent of the sunlight and only loses 3 percent to re-radiation, according to the researchers.
The team also needed a layer to spread out that heat. They used a 400-micrometer thick aluminum heated by the absorber layer above it to spread the heat throughout the entire surface.
The bottom layer is just a foam insulation that keeps heat from being wasted and locks it into the surface.
"In addition to passive de-icing, the photothermal trap stays at an elevated temperature, thus preventing ice build-up altogether," Dash said.
Eco-friendly Wooden Cube will Cool Your Room Using Only Ice
The three layers are all relatively inexpensive, and the coating was tested in real-world settings with detailed measurements. The research was published in a recent edition of the journal Science Advances.
"Scalability of these approaches and thinking about appropriate packaging, specific weight, etc., of the de-icing layer are important practical challenges going ahead, especially when it comes to the aerospace application. The paper also opens up intriguing possibilities around smart and flexible thermal packaging, and thermal metamaterials research to realize its full potential. Overall, an excellent step forward," he said.
Via: MIT
Ice-Proofing Might Not Just Be A Dream Anymore
Kashyap Vyas
We Can Now Engineer Cow-Free Ice Cream That Tastes So Good
New Imaging Technique Is a Huge Breakthrough for Filtration Materials
New Study Shows the 'Hidden Phases' in Matter, All through the Power of Light
Fabienne Lang

redpajama_set_name: RedPajamaCommonCrawl


text:
Home > Journals > Bulletin of the Peabody Museum of Natural History > Volume 52 > Issue 2
Bulletin of the Peabody Museum of Natural History
VOL. 52 · NO. 2 | October 2011
Insights into the Taxonomy and Systematics of North American Eocene Soft-Shelled Turtles from a Well-Preserved Specimen
Natasha Vitek
52(2), 189-208, (1 October 2011)https://doi.org/10.3374/014.052.0201
KEYWORDS: Trionychidae, fossils, phylogenetics, Trionyx tritor, Trionyx franciscae, Trionyx nelsoni, Trionyx scutumantiquum, Trionyx uintaensis, Washakie Formation
A nearly complete fossil soft-shelled turtle (Trionychidae) from the Eocene Washakie Formation of Wyoming is described and identified as Oliveremys uintaensis, comb. nov. Previously known only from a single shell specimen, O. uintaensis can now be diagnosed using both skull and shell characteristics, including callosified but unsculptured xiphiplastra. "Trionyx" tritor "T." franciscae, "T." nelsoni and "T." scutumantiquum are identified as junior synonyms of O. uintaensis. Parsimony and Bayesian analyses place O. uintaensis and all of its junior synonyms along with multiple previously scored fossil trionychid taxa. Reinterpretation of three characters within the matrix, as well as the addition of fossil taxa, resulted in novel relationships. These relationships were not recovered when only extant trionychids were included in a reinterpreted matrix or when fossil taxa were added without reinterpretation. The results indicate that the addition of fossil taxa is sometimes necessary to detect changes caused by other revisions to the character matrix.
A New Genus and Species of Bamboo Coral (Octocorallia: Isididae: Keratoisidinae) from the New England Seamounts
Les Watling, Scott C. France
KEYWORDS: Sclerites, msh1, igr4, SRP54, Kelvin Seamount, Rehoboth Seamount
Sampling along the New England Seamount Chain has produced a large number of new octocoral species, especially of the bamboo corals in the subfamily Keratoisidinae. The new genus described here is unusual in that it branches from the internodes yet has sclerites at the base of the polyp body that are arranged obliquely, and in having tentacles that can be pulled completely into the top of the polyp over the retracted oral disk. The genus and species are characterized using both morphological and molecular data.
Epibionts Associated with the Nesting Marine Turtles Lepidochelys olivacea and Chelonia mydas in Jalisco, Mexico: A Review and Field Guide
Eric A. Lazo-Wasem, Theodora Pinou, Alejandro Peña de Niz, Amanda Feuerstein
The diversity and frequency of epibiota collected over three years (2001, 2002, 2008) from sea turtles (Lepidochelys olivacea and Chelonia mydas) nesting on Teopa Beach in Jalisco State, Mexico, are described. This diversity is compared to epibiotic assemblages procured from these same turtle species nesting on other Mexican beaches, and the role these turtles play in the conservation and dispersal of these epibiota is discussed. Given the increased awareness of epibionts and the desire of many researchers to make positive identifications, specific diagnoses, photographs and a collecting protocol will serve as a basic aid to the collection and accurate identification of epibionts found on turtles living along the Pacific coast of Mexico.
A Comparative Morphometric Analysis of Cancer borealis Stimpson, 1859 and C. irroratus Say, 1817 (Decapoda: Brachyura: Cancridae) in the Northwest Atlantic Ocean
Daniel J. Drew
KEYWORDS: Morphometrics, Cancridae, competition, distribution, chelae variation, Cancer borealis, Cancer irroratus
The distributions of Cancer borealis and Cancer irroratus are analyzed, a record of C. borealis from Bermuda is confirmed, and new records of C. irroratus from Haiti are reported. Important morphological characters from the carapace were selected and tested for significant differences across latitude and depth gradients. One-way analysis of variance was used to test for significance. Least square means technique with Tukey—Kramer statistics was used to examine the differences between character measurement means. Northern (above 41°N) and southern (below 30°N) groups of C. borealis showed significant (P < 0.05) differences from mid-latitude groups in carapace and chelae measurement means. In C. irroratus, northern (above 38°N) and southern (below 32°N) groups also exhibited significant (P < 0.05) differences from mid-latitude groups in carapace and chelae measurement means. Discriminant function analysis using morphological diagnostic characters were used effectively to differentiate between the two species.
A Survey of the Yale Peabody Museum Collection of Egyptian Mammals Collected during Construction of the Aswan High Dam, with an Emphasis on Material from the 1962–1965 Yale University Prehistoric Expedition to Nubia
Alex Dornburg, Jordan G. Colosi, Chris Maser, Aspen T. Reese, Gregory J. Watkins-Colwell
KEYWORDS: Egypt, Aswan Dam, Chiroptera, bats, rodents
Zoological collections housing Egyptian specimens that pre-date the construction of the Aswan High Dam are of unique historical importance. Before the construction of the High Aswan Dam, Yale University organized three archeological salvage expeditions, between 1962 and 1965, to the Nile River Valley south of Aswan as part of an international UNESCO-organized salvage mission. Although the focus of these expeditions was the recovery of archeological artifacts, team leaders also included collection of zoological specimens in their operations. These efforts resulted in the collection of 448 species spanning 16 families of Egyptian mammals that were subsequently deposited in the Yale Peabody Museum of Natural History. Our re-survey of these collections revealed that almost two-thirds had been misidentified or only identified to "order" level taxonomic ranks. Many of the specimens collected were from sites now submerged beneath Lake Nasser and so provide a unique temporal snapshot of a region whose biodiversity was significantly restructured by human engineering. Our inventory identified several specimens now threatened with extinction or already extinct in Egypt, and also significantly expands the contemporary range of larger rat-tailed bats (Rhinopoma microphyllum).
Oreithyia, a Replacement Name for Orithyia Smith, 2011, nec Orithyia Fabricius, 1798
Krister T. Smith
52(2), 273, (1 October 2011)https://doi.org/10.3374/014.052.0205


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it receives payment after a delay, such as 90 or 120 days. Most foreign exchange dealers are banks, so this behind-the-scenes market is sometimes called the "interbank market although a few insurance companies and other kinds of financial firms are involved. Denn se zde zobchoduj mny za vce ne 5 bilion dolar. Imperfect Competition Investopedia Forex. Economic risk represents the future (but unknown) cash flows. The investment might be in assets overseas and financed in foreign currencies, or the company's products might be sold to customers overseas who pay in their local currencies. Foreign exchange swaps were the most actively traded instruments in April 2016,.4 trillion per day, followed by spot trading.7 trillion. Translation Risk, a company that has operations overseas will need to translate the foreign currency values of each of these assets and liabilities into its home currency. A simple balance sheet example of a company whose home (and reporting) currency is in British pounds will illustrate translation risk : Pre-Consolidation Year 1 Year 2 1: Exchange Rate n/a.50.00 Assets Foreign Home Total n/a Liabilities bitcoin app Foreign 0 0 0 Home (debt). Forecast Exchange Rate Forex Germany.
If you didn't understand any of the terms in that last sentence, don't worry it will be explained next.
Forex or the foreign exchange otherwise known as currency trading is the market in which.
Investopedia Stock Simulator Getting Started For those that have asked to donate some love.
Investopedia Video: Earnings Per Share Explained (EPS)Investopedia.
Forex or the foreign exchange otherwise known as currency trading is the market in which currencies are traded.
Forex je mezinárodn mnov trh, na kterém se obchoduje s cizmi mnami. Denn se zde zobchoduj mny za vce ne 5 bilion dolar. Jedná se tak o nejlikvidnj finann trh na svt. The latest Tweets from Investopedia Investopedia).
Behind the scenes banks turn to a smaller number of financial firms known as "dealers who are actively involved in large quantities of foreign exchange bitcoin forks timeline trading. Binary Trading Good Or Bad, according to the Bank for International Settlements, the preliminary global results from the 2016 Triennial Central Bank Survey of Foreign Exchange and OTC Derivatives Markets Activity show that trading in foreign exchange markets averaged.1 trillion per day in April. Main Factors That Influence Exchange Rates. If the company were to sell its assets at the depreciated exchange rate in year two, this would create a cash flow impact and the translation risk would become transaction risk. Another unpleasant effect caused by translation is that the value of equity is much lowernot a pleasant situation for shareholders whose investment was worth 100 pounds last year and some (not seeing the balance sheet when published) might try to sell their shares. In terms of volume of trading, it is by far the largest market in the world. Explaining foreign exchange trading profits. Companies typically generate capital by borrowing debt or issuing equity and then use this to invest in assets and try to generate a return on the investment. For the sake of the example, let's say a company called USA Printing has a home currency.S.
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Je kunt hier eenvoudig met ideal geld storten op je rekening en direct met de gestorte euros goedkoop Bitcoin kopen. Er staat veel geld aan de zijlijn van institutionele beleggers die ook graag op een makkelijke, gereguleerde manier..


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Castor oil has been a favorite to our elders. We use it during festivals and are considered auspicious. Castor oil has many benefits for our hair and skin.
• It helps in deep conditioning and keeps your hair smooth.
• Castor oil is made naturally and is rich in Vitamin E which is essential for hair growth.
• It provides all the vital nutrients for healthy hair growth.
• Regular use of castor oil helps in treating scalp infections such as dry scalp, itchy scalp or any kind of fungal infections.
• It acts as a natural hair conditioner and moisturizer. The omega-9 present in this oil holds and locks the oil in your scalp and hair and thus, keeps it healthy.
• The omega-6 and omega-9 fatty acids present in castor oil will increase the thickness of your hair.
Castor oil helps to keep your skin healthy and shining. Massage your hair and body with warm castor oil every week to make your skin and hair healthy. It promotes good sleep and also helps reduce stress and body pain.


text:
Q: User Input Value Not Kept In Form Input Field Using JS I have a form that has an input field:
<input type="text" class="my-form" placeholder="0" maxlength="10" value="50">

Currently the value is 50. When I manually (using my keyboard) enter a different value, eg: 20 and press TAB key OR click anywhere on the webpage, the value is processed (eg: it might be multiplied by 2, this happens before pressing the submit button). This works fine.
When I try to use JS to change the value (in console):
document.querySelector('.my-form').value = 20;

The input field box gets updated to 20 (so far so good) however after this when I manually press TAB or click anywhere on the website nothing happens (unlike when I input the value manually), when I manually click on the input field, the value changes from 20 to 50 as if JS still had the old value which gives me reason to believe that the new value (20) which I changed to using JS is just displayed and not stored by JS.
Summary: The input value is just displayed in the text field and not maintained/held/kept by JS, when I click submit, it will change to the old value and submit that instead of the new value.

A: Check your other codes, it seams your problem is a side effect of them.
This demo works:

function setValue(){
  document.querySelector('.my-form').value = 20;
}

function getValue(){
  console.log(document.querySelector('.my-form').value);
}

document.querySelector('#btnSet').addEventListener('click',setValue,false);
<form onsubmit="getValue(); return false;">
   <input type="text" class="my-form" placeholder="0" maxlength="10" value="50">
   <input type="button" id="btnSet" value="set 20 Unit">
   <input type="submit" id="btnSubmit" value="Submit">
</form>

redpajama_set_name: RedPajamaStackExchange


Canon's EOS 450D – or Digital Rebel XSi as it's known in North America – is the company's latest DSLR and the successor to the hugely popular EOS 400D / Rebel XTi. Announced towards the end of January 2008, just a few days before the annual PMA show, the 450D / XSi features a number of key improvements over its predecessor – some predictable, others less so.
In the predictable category is the inevitable increase in resolution from 10.1 to 12.2 Megapixels. This gives the new model around 20% more pixels in total, but with an actual image size of 4272×2848 pixels versus the 3888×2592 pixels of its predecessor, you're actually only getting a modest increase of approximately 10% in each axis.
Canon watchers will however note the company has once again trumped its semi-pro model in terms of resolution. The earlier 400D / XTi sported 10.1 Megapixels when the EOS 30D had 8, and now the new EOS 450D / XSi has 12.2 Megapixels to the EOS 40D's 10.
As expected, the EOS 450D / XSi features Live View, and interestingly Canon has again trumped the 40D by offering both traditional phase-change AF on the 450D / XSi, along with a new contrast-based AF option.
Contrast-based AF allows the 450D / XSi to auto-focus in Live View without flipping down its mirror. This sounds quicker, although in practice, like Panasonic's L10, this can actually take longer; the benefit though is not losing the image, nor sounding like you've taken a shot. Unlike Panasonic's L10 though, the 450D / XSi can perform contrast-based AF with any Canon lens, without the need for any firmware updates.
Speaking of lenses, the EOS 450D / Rebel XSi is optionally bundled with the recently launched EF-S 18-55mm f3.5-5.6 IS lens. This has the same range as the previous standard kit lens, but now includes Image Stabilisation to combat camera shake. This is undoubtedly to combat rival DSLRs with built-in anti-shake facilities, although as an optical system, the stabilising effect of the Canon lens can be seen through the optical viewfinder.
Other enhancements include an improved viewfinder, bigger screen, quicker AF, slightly faster continuous shooting and spot metering. Interestingly, Canon has also switched from Compact Flash memory to SD cards.
So there's a raft of improvements, but how well do they work in practice and are they worth having? Find out in our Canon EOS 450D / Rebel XSi review where we'll check out the new features and compare it against its predecessor and other key rivals including the Sony Alpha DSLR-A350. And as always, you can see a demonstration of its key features in our Canon EOS 450D / XSi video tour.
We tested a final-production Canon EOS 450D / XSi, running firmware version 1.0.4. Following our convention of testing cameras using their factory default settings unless otherwise stated, the EOS 450D / XSi was set to Large Fine JPEG quality, Auto White Balance, Evaluative metering and the Standard Picture Style; High ISO Noise Reduction and Highlight Priority were set to their default OFF and Disable settings respectively.


-Works to drive client leadership accountability for client employee engagement, performance management, coaching, and change management.
conducting audits and preparing written summaries and reports for programs and projects.
ensuring the effective high quality delivery of human resource services.
Prepares employee handbooks, job descriptions, compensation analysis, and other programs for an effective human resource management program for clients.
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May develop customized training materials for client education to include leadership development, HR compliance training, implicit bias, team building, conflict resolution, safety, or other areas of emphasis. Conducts training for clients.
. Conducting human resources audits and compliance reviews (for clients) and advises clients on recommended processes/procedures as needed.
. Keeps current with new developments in human resources.
May strategize with client on complex employee relations matters including terminations, discipline, sexual harassment, and other matters of significance.
. Follows internal procedures to provide excellence in client service, protocols, and practices.
outsourcing client or other Company initiative.
. Performs other duties as assigned by leadership.
. Accurate and timely completion of projects and/or reports.
consulting executives to serve as a trusted advisor, and business partner to all clients. This position supports approximately 250 employees, or 10-15 clients.
and ensuring all elements are in place for a successful human resource function.
Implements and supports client Annual Plans and strategies, which impact both short and long term client business goals.
Follows a disciplined consulting process in order to diagnose, validate, contract, source, deliver and evaluate, providing value added consulting to the client.
. Bachelor's degree in Business, Human Resources or equivalent work experience required.
. Prior relevant generalist experience in a corporate environment is preferred..
. Experience operating in an environment that stresses individual accountability and team based performance is critical.
. A sense of urgency and continual drive for results coupled with an ability to partner effectively with management are key success factors.
. Previous experience should include successfully implementing processes, best practices, operational change initiatives. Incumbent must show an ability to successfully collaborate with and influence management and peers to support growth and results.
. Ability to work as a team member.
. The employee is regularly required to speak eloquently, with good diction and grammar.
. Ability to overcome major issues in a changing environment.
. Maintenance of Company information in a confidential manner.


text:
Hajrah () is a town about  south-east of Jeddah in Saudi Arabia

Muhammad ventured here to complete his journey and mission to spread Islam. Although he was exiled from Mecca, he returned shortly after amassing followers in Hajrah.

See also

 List of cities and towns in Saudi Arabia

Populated places in Mecca Province

redpajama_set_name: RedPajamaWikipedia


This project aims to provide context for an individual's experience of WWI by linking to personal narratives written by people in the same situation. By the end of this project, someone who wants to research a soldier in WWI but doesn't know a thing about how armies were structured should be able to find a personal account from someone in a similar role written at about the same time and place. We'll never really know what it was like for those who experienced the First World War, but we can come closer to understanding it by collecting the words they left behind.
Our aim is find a personal narrative - a diary, letters, memoirs or images - for each military unit in the British and allied armies. Populating the lists of battalions and linking the numerous personal and official diaries, letters, memoirs, etc already online is a huge task and it can only be done with your help.
The Finnish WarSampo project has a similar vision to ours, and this write-up, WarSampo: Publishing and Using Linked Open Data about the Second World War, is a great overview of how and why linked data can help us understand world wars.
Have you got a few free minutes to take on a small research challenge?
Match its author with a regiment or battalion.
You can see the difference that contributors so far have made on pages listed in units with personal narratives.
Anyone can request an account for this wiki (but not you, spam bots!) to help out. If you get stuck, just drop me a line; I'm @mia_out on twitter.
Units arranges units by type.
Places arranges pages geographically. You can find units by the countries they belonged to.
Themes arranges pages by other themes, such as women's history.
Sources is about documents you can use or that need linking to units.
To do lists pages that give details of things that need doing, and sub-categories of pages that need specific improvements.
Help pages give more information about how to use the site.
VLeachman has done lots of work adding documents to NZ unit pages, and found some great connections.
Jasonmarkwebber worked on the 3rd Battalion, Grenadier Guards, British infantry page.
B3rn has been doing great work on Australian units, particularly medical units which weren't previously listed.
Huge thanks to various New Zealanders who sent me lists of units from the New Zealand Expeditionary Forces! It's been an immense help with New Zealand battalions in World War I.
Finally, GavinRobinson has done brilliant work, not only contributing information about specific battalions but also helping work out the requirements for structured data about battalions, regiments and other military units in the British Army, and most recently on importing records for hundreds of US infantry regiments.
Someone suggested a document via the form which was part of correspondence between two men, so their suggested added personal accounts to an Australian and a British battalion with just one link! Thanks to them pages for the 1/4th Battalion, Royal Berkshire Regiment, British infantry and 5th Battalion, Australian Imperial Force (AIF) now exist and have links to documents created by a soldier in each battalion.
You can also view pages recently edited on this wiki.
This project is part of a Transnational Research Fellowship with the CENDARI project at Trinity College Dublin's Long Room Hub. Further information is available on the 'about' page of this wiki.


text:
Modest Ilyich Tchaikovsky (; –) was a Russian dramatist, opera librettist and translator.

Early life
Modest Ilyich was born in Alapayevsk, Verkhotursky Uyezd, Perm Governorate, the younger brother of the composer Pyotr Ilyich Tchaikovsky. He graduated from the Imperial School of Jurisprudence with a degree in law. In 1876, Modest became the tutor to a deaf-mute boy Nikolai ("Kolya") Hermanovich Konradi (1868–1922) and, using a special teaching method, helped him to talk, write, and read. In his still unpublished Autobiography, broadly quoted by Alexander Poznansky, Modest Ilyich Tchaikovsky mentions his and his brother Pyotr Ilyich Tchaikovsky's homosexuality.

Career
Modest chose to dedicate his entire life to literature and music. He wrote plays, translated sonnets by Shakespeare into Russian and wrote librettos for operas by his brother Pyotr, as well as for other composers such as Eduard Nápravník, Arseny Koreshchenko, Anton Arensky and Sergei Rachmaninoff. Being the nearest friend of his brother, he became his first biographer, and also the founder of the Tchaikovsky Museum in Klin.

Plays
 Predrassudki  (Предрассудки –  Prejudices)
 Simfoniya (Симфония – Symphony)
 Den' v Peterburge (День в Петербурге – A Day in St Petersburg)

Opera libretti
 Pyotr Ilyich Tchaikovsky: The Queen of Spades (Пиковая дама - Pikovaya dama), Op. 68, 1890.  Premiered: , St Petersburg
 Tchaikovsky: Iolanta (Иоланта – Iolanta), Op. 69, 1891, based on the Danish play Kong Renés Datter (King René's Daughter) by Henrik Hertz, translated by Fyodor Miller and adapted by Vladimir Rafailovich Zotov.  Premiered: 1892, Mariinsky Theatre, St Petersburg.
 Eduard Nápravník: Dubrovsky (Дубровский).  Premiered: , at the Mariinsky Theatre, St Petersburg.
 Arseny Koreshchenko: Ledyanoy dom (Ледяной дом).  Premiered: , Moscow.
 Anton Arensky: Nal' i Damayanty (Наль и Дамаянти), after the epos Mahabharata.  Premiered:  , Moscow.
Sergei Rachmaninoff: Francesca da Rimini (Франческа да Римини), Op. 25, 1904, after the story of the heroine Francesca da Rimini from the fifth canto of Dante's epic poem The Inferno (the first part of The Divine Comedy).  Premiered: , Bolshoi Theatre, Moscow.

References

Bibliography
Tchaikovsky, Modest:  The Life And Letters of Peter Ilich Tchaikovsky, University Press of the Pacific (2004)

External links

1850 births
1916 deaths
People from Alapayevsk
People from Verkhotursky Uyezd
Russian male dramatists and playwrights
Russian opera librettists
Russian people of French descent
Imperial School of Jurisprudence alumni
Russian gay writers
Russian LGBT dramatists and playwrights
Pyotr Ilyich Tchaikovsky
Russian twins
Gay dramatists and playwrights
19th-century writers from the Russian Empire
19th-century dramatists and playwrights from the Russian Empire
20th-century Russian dramatists and playwrights


Tell us about your experience with Weiss Burkett, and we will publish it!
Weiss Burkett offers the most comprehensive range of legal services: representation in courts and any proceedings, pre-trial settlement, etc. Weiss Burkett located in Lebanon, Pennsylvania. You can find other courts and attorneys near you.


Product prices and availability are accurate as of 2019-04-19 08:02:05 UTC and are subject to change. Any price and availability information displayed on http://www.amazon.com/ at the time of purchase will apply to the purchase of this product.
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text:
Construction and Infrastructure
The Sri Lanka Project
Hadas Group Technology (HGT) has introduced, for the first time in Sri Lanka, an affordable, hassle-free, convenient method of constructing houses, utilizing the latest technology available.
The panel technology being used for the construction of houses could be built within 24-48 hours, in full compliance with European Standard Specifications. The raw material used in the manufacture of panels is a special alloy aluminum, with a thickness of 0.06 mm. The panels are made out of two aluminum sheets insulated by a polystyrene layer, connected by an interlocking system.
The salient features are anti-corrosive, fire resistant, friction proof and water resistant. They are pre-painted by a powder coating of 30 micron thickness which could withstand an earthquake of 8.8 on the Richter scale and wind tolerance of approximately 120 km/hr, as well as an impact of 200 Kg per sq ft.
The company is currently looking forward to construct 25,000 houses in tsunami devastated areas with the help of NGOs. The company has received many inquiries from the hotels and plantation sectors to construct these low cost houses.


text:
It was about time things got really sprawling again, after the last two albums before this one clocked in at just over an hour apiece. An hour is a pretty short album for me in these post-CHICKEN ANGEL WOMAN times. Here you get two CDs and more than two hours of music. That's more like it.
This album had a bit of an odd genesis. As the halfway point of 2010 was approaching, I hadn't been slacking off, but I was trying to figure out what I was supposed to do next. There were a number of projected albums kicking around, most of them still at the brainstorming stage, and I wasn't sure which storm to bring outside the realm of the mind.
I did what any sane person would do and decided it was time to buckle down and put some serious effort into finishing the years-in-the-making elephant that was THE ANGLE OF BEST DISTANCE before it got too unwieldy.
I figured that would be enough to keep me busy all on its own, given the amount of material involved and the pile of songs waiting to see some action. It was all going well for a week or two, until I found myself recording some brand new songs that had nothing to do with ANGLE. These things wouldn't fit on that album, and I didn't want them to get lost in the shuffle. So I thought I'd work on both albums at once.
Simple enough. I've done that sort of thing before.
"Not so fast," said my brain, and it started splitting off in all kinds of unanticipated directions. I ended up recording some really catchy songs, and some extended improvised experimental things. I started thinking about trying to put the first Mackenzie Hall show together in some sort of CD/DVD set for the people who weren't there. I went to work making cover art and designing inserts for more than two dozen different albums from the back catalogue, none of which had ever been given any proper packaging before. I thought about remixing some of those older CDs where I felt I could improve the overall sound quality enough to justify the work involved. And I was writing new songs faster than I could keep up with them, and still trying to pick away at ANGLE all the while.
KERBLAMMO!
There went my brain.
Well, not really. But that goes beyond multi-tasking and slouches into the land of "biting off so much, you have to swallow without chewing first if you want to have any hope of making progress". That's how choking happens.
This thing here, once it started to look like it might turn into something significant, was first envisioned as two separate single-disc albums. One would be made up of the catchier, more "normal" songs. The other would consist of all the longer, stranger ones. I had album titles, artwork, design templates and everything all ready to go for both of them, before either album was anywhere near being finished.
Then I stepped back a bit and realized the absurdity of the whole thing.
Even after I put the Mackenzie Hall thing on ice (because something had to give somewhere, and it wasn't like the show was professionally recorded anyway), I was aiming to release three different albums at once. It would have probably amounted to about seven hours of music, all told. I was also trying to line up the "reissuing" of the older CDs so all of those would be available at about the same time the three new albums were finished.
Here's what actually happened:
THE ANGLE OF BEST DISTANCE got thrown on the back burner when this album started to grow some serious legs, and continued to haunt and heckle me for another near-decade (it's still shouting abuse at me right now, if you want the truth).
The invisible reissue campaign worked out pretty well. I did manage to line up the timing so I had just about all of the albums I really cared about looking presentable at the same time HELLHOUND was ready to go, even if I didn't do much to call attention to them (that was very much a "for fun, for myself" kind of project).
I decided I was too lazy to remix any of those old albums, except for one that felt like it could really benefit from a fresh set of ears.
And Uncle Kanye lived to fight another day.
I came to the decision pretty early on that a short, sharp album made up of some pretty accessible material, with little in the way of weirdness or stylistic curve balls, was the last thing I wanted to put together. It's the kind of album some people have told me I could — and should — make at one time or another, as if getting rid of some of the weirdness would suddenly make me a viable commercial force or something. When I hear things like that, my impulse is always to do the exact opposite of what anyone tells me I should do.
Still, almost in spite of myself, I kept writing all these songs that were really catchy, and I liked them, and didn't feel a need to mess with most of them. But I couldn't make an album that had nothing but that one type of song on it. That would be pretty boring.
So I thought I would toss out the catchy album/weird album division and just let everything bleed together.
As a result, on this album you've got some of the more "normal" songs I've written in recent years sitting right next to some things that are pretty out-there. I'm a Witness, Not Your Waitress almost sounds like a song I could have feasibly released as a single, while something like Fade doesn't sound much like a song at all in any traditional sense. There's the odd track like Facts and Figures that's just there as a little joke or segue, but for all the music here, there's not one thing that has ever felt like filler to me.
With most of the albums I've made from CHICKEN ANGEL WOMAN forward, I get to a point where I realize I've got enough recorded material to make a pretty packed single CD, and if I keep going, I'm going to have to start thinking about making a double CD. That's usually about where I set the cutoff point, though a few times I've just been able to fit everything onto a single disc after deciding on a final running order.
This time I didn't want to stop myself. When I had about an hour of music mixed and CD-ready, I felt like I was only halfway through and there was a lot left to say. So I kept going, until I got to a place where I thought, "This is going to turn into a triple CD pretty soon. Maybe it's a good time to pack it in."
In the end, the album feels like it's just about the right length for me. It takes its time, but I don't think it overstays its welcome. It just gives you about twice as much music as your average modern day Johnny West album.
If at First You Don't Succeed, Redefine Success is maybe the most absurdly happy-sounding song to ever kick off an album of mine. It's made up of six words, three chords, and that's about it.
There was no big idea behind it. It was a riff that toppled out while I was working on a different song. I thought I'd record it as a sketch and write lyrics later. Then I started singing, "I've been failin' left and right," over again, and it felt like it might work better without any more words after all. The moment I mixed the song, I knew I couldn't put it on THE ANGLE OF BEST DISTANCE. It would get buried on a four-hour album. It needed to belong to something else, and it had to be the first song.
While it isn't really indicative of the sound of the album as a whole (not that I think any given song on the album is), it was the one that set the whole thing in motion.
Slow Dancing in the Small Intestine of a Rather Large Animal is another one to add to the list of "strangest love songs I've written for someone who doesn't exist" (a list that would include songs like "Peculiar Love", "The Danger of All Things Adhesive", "Love Song for the Human Race", and "Generic Love Song to Play at Your Wedding"). I'm pretty sure it's the only time I've ever written a song from the point of view of someone who's in the process of being digested.
In another life I might have pitched it to Frank Sinatra's people and been brutally rejected. Then again, you never know. Maybe, if Frank heard it after someone dosed his coffee with acid…
Raccoon Eyes is a fuller flowering of the dreamy, shoegazey sound "It's Only a Chocolate Cigarette" on LOVE SONGS FOR NIHILISTS flirted with a little. It was a total accident. I thought I would improvise an ambient musical bed to sing the lyrics I'd written on top of, with no real structure to it. Then I got the idea of laying down the drums before anything else and building the song around them, and maybe getting rid of the percussion later on, just to see how that might impact the shape of the thing.
I don't ever work that way. I don't record "bed tracks" the way most people do. I start with whatever instrument the song was written on (guitar, piano, ukulele, what have you). Then I usually do the vocals, and after that, it's whatever I feel like doing next. A few times the bass has come first, and sometimes I'll start off with a drum loop, but I never get behind the drums and work something out there before anything else happens.
This time I did. Then I pulled out an old mid-level Lexicon effects processor I hadn't used in a long time, saturated the crap out of the reverb, plugged it into a mic preamp with no amplifier in the signal path, and picked up a neglected Fender Strat. I used the tremolo arm in a way I never had before, pushing down on it before almost every strum and then releasing it as the notes rang out, causing the chords to swell in an odd way as they went from being out of tune to being in tune within the space of about half a second.
I did that twice for a stereo spread, recorded another two guitars on top of that — this time with the Lexicon fed into a guitar amp to give it a bit more hair — recorded some vocals, added bass and a little bit of synth and organ, and it was done. I also used a distant mic on the drums in addition to the typical stereo ribbon mic setup, to get a bit more room in the sound.
The end result is more of an extended mood piece than a normal song, with the drums dropping out at odd moments and the reverb cranked up to eleven. Without meaning to, I took the sound I first played with in a half-assed way on the improvised sketch that was "Chocolate Cigarette" and exploded it into something a lot deeper and more interesting. Though it sounds nothing like my initial idea, I think it turned into one of my favourite things on the album. I like how the music and the lyrics unfold like a dream, making a strange kind of sense in the moment even though they don't move in any linear or predictable way.
For Those Who Talk Shit and Spread Disinformation is a pretty blunt shot at a few naysayers and detractors. I thought twice about including it, thinking it might come off as confusing or petty to most people. Then I decided it amused me too much to exclude, and I liked being able to call out a few of the folks who were talking shit about me behind my back while acting all buddy-buddy to my face. Maybe it's not the sort of thing you're supposed to say out loud, but by now I was pretty tired of biting my tongue. It's a pretty catchy song, too, until the gloves come off at the end.
Most of the venom is directed at one specific person. That's a long and torrid tale. Here's all you need to know: we had a little war that started when he tried to bully me into letting him ride my coattails and I let him know I wasn't having it. We both got our shots in, and then it fizzled out with no great bloody battle, though I hear he still likes to insult me if the opportunity presents itself and will try to dissuade people from working with me when my name comes up (which tells me he's still upset he didn't "win" and couldn't bend me to his purpose).
Sometimes all you can do is laugh.
Anyway. There's a lot of different stuff going on here. There are songs like Can't Get but Been Got and Ass Dildos, which are about as close as I'm ever going to get to indie rock territory, but shot through with enough weirdness to keep them from settling down. I took a perverse kind of pleasure in giving one of the catchier things on the album a potentially offensive title — even though it was meant as an insult directed at crummy people, and not as a sexual thing at all — and turning another one on its head with lyrics about impotence.
I love doing that sort of thing. You gotta have fun. Otherwise what's the point?
There are extended workouts like Lovely and Dirty and Eating the City that pass through several scenes on their way to wherever it is they're going. There are a few piano ballads, a few instrumental tracks, the odd tiny song, and some lyrics that are pretty out of character for me — or at least they were at the time.
Everyone You Love Is Dead and Murder Dressed as Mercy are two things I wasn't at all expecting to write. I mean, a song about the mystery of what happens after we die, played straight, with no silliness? And a song delivered from the point of view of a man whose partner more or less commits suicide after the atrocities he witnesses fighting in what may or may not be the Iraq War? From me? The guy who brought you "Piece of Crap in Your Shoe" and "Santa Claus Is Horny for Clowns"?
There's also Those Who Hunted Passenger Pigeons Are Now Burning in Hell, sung from the perspective of one of the birds. It's about the brutal things hunters would do to trap and kill them, ultimately leading to the extinction of the entire species. It might be one of the angriest songs I've ever written in its own strange, quiet way. And there's Motivation Behind the Method, which is about the cycle of learned violence and how it destroys lives, sometimes literally.
I didn't plan to get into heavier themes here. These were just a few of the things that came out of my brain, of their own volition, as is usually the case.
Though the Sea Is Frozen, It Still Finds the Time to Laugh at Me is as close as I'm ever likely to get to straight-ahead gospel music. Again, it wasn't planned that way. I wrote the song with the idea of making it an a cappella thing. I thought maybe I'd throw in some drums, but for the most part it would just be voices on top of more voices.
After recording a few vocal tracks, I didn't feel motivated enough to lay down another dozen parts to get the layered effect I wanted. I thought I'd try playing some gospel-inspired piano as a joke. I ended up liking it so much, it changed the shape and feeling of the whole song. So instead of layers of vocals, you get stripped-down harmonies, piano, and some handclaps and tambourine.
Some of my favourite songs are the longer (and often stranger) ones. A Gangster's Moll Only Dances to Songs She's Never Heard Before is another one of my attempts at making something like IDM. I like the twitchy, ominous atmosphere it creates. It was recorded at about 4:00 in the morning when my sleep was a complete mess. Some of my most interesting electronic moments seem to come late at night or early in the morning when I'm on the vampire sleep schedule.
It almost sounds a little to me like there's an Autechre influence there, though everything was played in real-time with my fingers, with no computer programming, sampling, or looping anywhere, and it was improvised as it was recorded. So there's an odd humanizing element, where everything isn't always in perfect rhythmic step.
There's Hold onto Your Friends, for They Will All Turn to Dust, which is mostly instrumental, and something that somehow progressed from a sketch I was very unenthusiastic about to one of my favourite things on the whole album.
It began as nothing but the electronic percussion and some synthesizer, with a little bit of electric guitar thrown in. I thought it had potential, but I couldn't be bothered to do anything with it. With the passage of time, it grew less and less interesting to me.
A few months down the road, when I was throwing myself into recording this album in earnest, I thought it might be worth another look. I added piano, drums, more synths, some vocals, the crappy cheap classical guitar that first showed up on LOVE SONGS FOR NIHILISTS — and still sounds better than it has any right to for being such a cheap, poorly made guitar — and it turned into a whole new thing, developing a bit of a jazzy bent thanks to the piano and some busier-than-usual drumming. The the little wordless moan that's heard when I stop flailing away at the drums near the end of the song translates to, "What the hell am I trying to play here?"
(A video progress report that talks about the album a fair bit.)
Eating the City is a noisy, monolithic thing with everything processed, compressed to hell, and recorded the wrong way on purpose. Insomnia Kick is neither long nor strange, but for some reason it's always been another favourite of mine — sort of a sleepy deep album cut.
I really liked the way that 1983 Martin D35 acoustic guitar sounded with a microphone in front of it. I kind of regret selling it now. But I needed the money, and I did at least replace it with another Martin acoustic a little later on.
An American Dream is another song that turned into a personal album highlight out of nowhere. I liked it fine enough when i wrote it, but after I got the vocals and piano down I wasn't sure what to do with it. Playing the drums with brushes didn't seem to work. I couldn't figure out a rhythm that seemed appropriate. I left the song alone for a while and returned to it late in the game, not feeling very inspired. It was the last song I worked on for the album.
The turning point came when I hit on a drum idea that was the last thing I would ever think to play on what's essentially a piano ballad. It almost felt a bit like a U2/Achtung Baby thing, with less sonic weirdness going on and more weirdness in the lyrics.
After that drum part was nailed down, the song had some lift and some fire in its belly. Instead of adding guitar, I noodled around with an additional piano part and added some Acetone combo organ, along with a bit of out-of-tune hammered dulcimer during a "bridge" section, played with fingernails instead of hammers. I could have tuned the thing, pain in the ass that it is, but I kind of wanted that dissonance.
One of my favourite moments on the album happens here. It's the bit of accidental vocal harmony that comes in for a moment on the back half of the line, "What are all your backup dancers doing stretching at a time like this?" I had a distant microphone set up to record the dulcimer, and each time I walked over there to record another track I would sing along with the lead vocal for a few seconds without thinking about what notes I was hitting.
When I played all the tracks back, the absent-minded bits of vocal harmony worked better than I ever expected them to.
One of the more interesting instrumental tracks for me is Water in a Wine Glass. I was just messing around with an electric guitar and a weird octave effect and felt like recording a random improvisation with a shifting rhythm, moving back and forth between 7/4 and 6/8. It was fun recording bass and drums on top of that. I'm not sure how I got the drums down in one take with no rehearsal. Irish luck, maybe?
I'm not Irish. But still.
The sheer amount of music this album coughs up may be a bit overwhelming if you plan on taking it all in during one sitting. I haven't even touched on every song, and I've written a lot of words here. Still, I think it's a pretty strong album all the way through, with a lot of songs that feel like some of my better work from any period, and one (Everyone You Love Is Dead) that feels like one of the best songs I've ever written, full-stop.
You even get a salsa song sung in Italian and then translated into English, with intentionally cheesy fake brass stabs and a chorus that repeats the Italian word for "toaster" as an incantation. How can you lose?
I've always thought of this one as my White Album. Not in terms of greatness. I would never compare myself to the Beatles. I mean, come on — they're the Beatles! I'm just a hairy guy who makes noise. But in terms of its reach and "throwing everything into the pot"-ness, it feels like one of those larger-than-usual musical statements. Some of my all-time favourite albums are the epic ones: The White Album, Exile on Main St., Sandinista!, Bitches Brew, Electric Ladyland, Physical Graffiti, Rain Dogs, and the like.
I think some artists do their best work when they aren't limited to ten songs that make thematic or sonic sense together and they allow themselves to paint wild and free on a much larger canvas. The most interesting things are sometimes the doodles in the margins, making the big bold brush strokes all the more striking. I think the same might be true in my case. If this album ended after the first disc, it would still be one of my favourite things I've done, but that first disc is only half the story.
I guess it's kind of strange to end with a song as simple as The Old Blood Tree, but it felt like the right move. There's even an odd bit of symmetry there, though it wasn't intentional and I didn't realize it existed until after the fact. The album begins and ends with acoustic guitar-based songs that feature twinkling piano lines and brushed drums and cut out abruptly.
Dave Pearlman came out with another new mic while I was making this album — the TM-250, based on the Telefunken 250. I couldn't resist getting one, even though by now I felt like I pretty much had my bases covered when it came to microphones. The same thing that happened when I first got my TM-LE back on CREATIVE NIGHTMARES happened here with the new mic — I experimented with it as a vocal mic. You can hear the TM-250 on all the vocal tracks on Can't Get but Been Got, Though the Sea Is Frozen, It Still Finds the Time to Laugh at Me, and An American Dream.
As with the TM-LE before it, I liked the sounds I got when I was singing into it, and still I kept gravitating back toward the TM-1 as my vocal mic. The TM-250 has a bigger, richer sound to it, but there's always been something about that TM-1. It gets a vocal track to sit right where I want it in a mix every time.
When I was making AN ABSENCE OF SWAY, I started recording a lot of things distant mic'd with the TM-1. I liked the way that changed the character of certain sounds, especially when I was adding ukulele or banjo or acoustic guitar to a song that already had some meat on its bones. That carried over to the next album, started to go away on the one after that, and by the time you get to this one there's very little of it going on (outside of the classical guitar at the beginning and end of Hold onto Your Friends, where the heightened noise floor belies how much I had to crank the mic preamp).
By this point the TM-LE was seeing a lot of action on acoustic stringed instruments and most of the things I would have recorded with the TM-1 before. All those sounds were now being captured in a more intimate way. The TM-250 got a bit of run as an ambient drum room mic on some songs, but it would take that mic a little longer to find its role and settle into it. These days it finds itself picking up some of the same work as the TM-LE on stringed instruments, and it's become my favourite mic in the universe to record violin and cello with.
On an aesthetic note, I think this might be one of the best-looking albums I've made…and I made the cover art myself. How those two things ended up correlating, I have no idea. I like the graphic design job I did here, and I like the little disclaimer I put on the inner tray about what will happen to anyone who tries to sell my music. I like the album title itself, which is a phrase invented by artist Marcy Boles (who was kind enough to let me borrow it).
Really, this probably wouldn't be a bad choice to give to someone as a one-stop introduction to whatever it is that I do. It feels like almost every facet of my musical language — at least as it stood in 2010 — is well-represented here.
Not that I could ever limit myself to just one album as an introduction for the uninitiated. I'm far too much of a creative maximalist for that. As you see.
If at First You Don't Succeed, Redefine Success
Raccoon Eyes
Can't Get but Been Got
Hold onto Your Friends, for They Will All Turn to Dust
What Marc Anthony Should Have Sung to J.Lo on Their Wedding Day
Insomnia Kick
Tacked-On Romantic Subplot Ruins Otherwise Promising Film
Kicking the New Corpse
Though the Sea Is Frozen, It Still Finds the Time to Laugh at Me
I'm a Witness, Not Your Waitress
Slow Dancing in the Small Intestine of a Rather Large Animal
Water in a Wine Glass
Shake like You Mean It
Dance of the Gallant Loser
Everyone You Love Is Dead
A Gangster's Moll Only Dances to Songs She's Never Heard Before
For Those Who Talk Shit and Spread Disinformation
Ass Dildos
Those Who Hunted Passenger Pigeons Are Now Burning in Hell
Rutabaga Swing
Murder Dressed as Mercy
How to Fall Without Hurting Yourself
Lovely and Dirty
An American Dream
Motivation Behind the Method
Brief Syncopated Synth Segue
Eating the City
The Old Blood Tree
https://johnnywestmusic.files.wordpress.com/2010/07/1-02-raccoon-eyes-2017-remaster.mp3
https://johnnywestmusic.files.wordpress.com/2010/07/2-04-ass-dildos.mp3


Redefining your sales territories by social proximity, rather than geographic areas, can increase conversions. Here's how!
Nothing gold can stay. That's right, not even you, sales territories. The old way, established over a century ago, of assigning sales professionals territories based on geographic location is on the way out. Sure, it made sense when most meetings were mostly conducted in person, but in a world of conference calling services and social selling, the way we determine sales territories has to change.
This change, however, won't create a vacuum in your sales strategy. Leading organizations have already started divvying up prospects according to a new metric: social proximity.
What is social proximity? Where geographic proximity is being physically close to a prospect, social proximity offers a more meaningful closeness. Dividing your sales team by social proximity means determining accounts based on who is most connected to a specific set of prospects.
When it comes to social selling, "connected" can have different meaning—but in a world where in-person meetings are at best a last step and at worst an inconvenience, these are the connections that matter most.
When you assign accounts based on who has the strongest personal connection to the account (in other words, the closest social proximity), the sales rep is more likely to get a response. If you have an existing relationship or connection with a prospect, he or she has more reason to trust you and engage in a meaningful conversation.
Social proximity also means that the assigned sales professional has more insight into the prospect or account. They can conduct more personalized outreach, resulting in more conversions.
Buyers don't want you in their conference rooms anymore. They've already gone through much of the research phase online and do not want or need a full in-person introduction to your product.
You don't have to worry about how to determine your team members' social proximity to a target because social selling tools do it for you. With the proliferation of advanced social selling technology, social territories make even more sense.
The idea of determining sales territories based on social proximity instead of geographic proximity is the natural extension of a sales process that involves less and less in-person and telephone communication. It is a piece of the ongoing process to create a more customer-centric, targeted, personalized approach to selling.
If you're in the process of adapting social selling by taking on strategies like creating social territories, you should check out our Sales Rep's Checklist.


text:
"""
api tested:
    mc.player.getTilePos
    mc.player.setTilePos
    mc.player.getPos
    mc.player.setPos
    mc.player.getRotation
    mc.player.setRotation
    mc.player.getPitch
    mc.player.setPitch
"""
import time
from math import (pi, sin, cos)
from mcpi.minecraft import Minecraft

mc = Minecraft.create()
pos = mc.player.getTilePos()

def test_pos():
    global pos
    print("current tilePos:", pos.x, pos.y, pos.z)
    time.sleep(1)
    mc.player.setTilePos(pos.x + 5, pos.y + 5, pos.z + 5)
    time.sleep(0.5)
    pos = mc.player.getTilePos()
    print("current tilePos:", pos.x, pos.y, pos.z)
    print("player.getPos:", mc.player.getPos())
    time.sleep(1)
    mc.player.setPos(pos.x + 5, pos.y + 5, pos.z + 5)
    print("current pos:", mc.player.getPos())

def test_rotation():
    angle = mc.player.getRotation()
    print("current rotation:", angle)
    print("adjust player in the next 10 seconds")
    time.sleep(5)
    print("current rotation:", mc.player.getRotation())
    time.sleep(5)
    print("current rotation:", mc.player.getRotation())
    mc.player.setRotation(0)
    time.sleep(0.2)
    print("current rotation:", mc.player.getRotation())
    print("current direction:", mc.player.getDirection())
    time.sleep(0.5)
    mc.player.setRotation(45)
    time.sleep(0.5)
    mc.player.setRotation(90)
    time.sleep(0.5)
    mc.player.setRotation(135)
    time.sleep(0.5)
    mc.player.setRotation(180)
    time.sleep(0.2)
    print("current rotation:", mc.player.getRotation())
    print("current direction:", mc.player.getDirection())

def test_pitch():
    angle = mc.player.getPitch()
    print("current pitch:", angle)
    print("adjust player pitch in the next 10 seconds")
    time.sleep(5)
    print("current pitch:", mc.player.getPitch())
    time.sleep(5)
    print("current pitch:", mc.player.getPitch())
    mc.player.setPitch(-90)
    time.sleep(0.2)
    print("current pitch:", mc.player.getPitch())
    time.sleep(0.5)
    mc.player.setPitch(-45)
    time.sleep(0.5)
    mc.player.setPitch(0)
    time.sleep(0.5)
    mc.player.setPitch(45)
    time.sleep(0.5)
    mc.player.setPitch(90)
    time.sleep(0.2)
    print("current pitch:", mc.player.getPitch())

def main():
    test_pos()
    test_rotation()
    test_pitch()

redpajama_set_name: RedPajamaGithub


Remember, you can click the pictures to view them bigger - some, like this one, don't work so well as a blog 'thumbnail'.
Which kinda sums this one up. I forgot to take the long shot! Oh well. Better stuff coming soon.
Other news; I am featured in a new street art book called 'Street Renegades: New Underground Art' that is out 15th October. It is by Francesca Gavin. I haven't seen it yet but it features loads of great artists such as Cut Up Collective, Dan Witz, Invader, Mark Jenkins and Graffiti Research Lab.
I forgot that my stuff is also featured in a new book published by Die Gestalten Verlag called 'Tactile: High Touch Visuals'. It isn't a street art book as such as it concentrates on artsists and designers implementing their ideas spatially, but it does feature work by Mark Jenkins, TRUTH and others such as friendswithyou. I got it in the post yesterday and it is great!


We have a wide range of staff to enable us to provide a high quality service and meet individual pupil needs. Everyone is committed to the aims of the school and seeks to provide the very best service. It is a requirement that all staff working in school have enhanced criminal records clearance.
Mrs Hazel Farlam and Mrs Debra Cannings share the role of headteacher.
In addition to * above.


While cyber insurance policies have traditionally been centred on the risk posed by external players, insider threats originate from trusted individuals who – through malice, negligence or even carelessness – cause harm to their organisation's IT systems, finances, and intellectual property, says security analytics firm Haystax Technology.
In 2017, 90% of organisations reported feeling vulnerable to insider attacks, up from 64% in 2015 and 74% in 2016, the newest research from Haystax reveals. By 2018, it projects that up to 99% of organisations will report being concerned about the threat from insiders.
According to almost 1,500 cybersecurity professionals surveyed, the top three risk factors for insider threats are: having too many users with excessive access privileges, an increasing number of devices with access to sensitive data, and the increasing complexity of information technology.
The results of the research suggest that insurers have more to do when it comes to assisting their clients in mitigating the risks posed by insiders in the cyber world.
"The insurance industry is all about accurately anticipating risk, yet it seems to believe that insider threat activity can be much harder to predict in a consistent way than, say, human mortality or even the weather," Haystax's CEO Bryan Ware told Insurance Business.
The solution for cyber insurers, he says, is to ensure that clients have a "robust" insider threat mitigation program in place.
"One that analyses not just network data, but also other information sources that can shed light on potentially malicious, negligent or accidental human behaviours before they become a crisis," Ware said.
Earlier this year, a report from Aon Risk Solutions warned that companies' increasing reliance on technology is leaving them exposed to a wide range of cyber-related risks – including insider risk, which Aon said, "plagues organisations," adding that many underestimate their severe vulnerability and liability.