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Building Enterprise Software on LinkedIn's Consumer Stack: Behind the Scenes of LinkedIn Talent Hub
Viman Deb
Co-authors: Viman Deb and Christian Mathiesen
The Economic Graph is a digital representation of the global economy based on 575+ million members, 50,000 skills, 26 million companies, 15 million open jobs, and 60,000 schools. In short, it's all the data on LinkedIn, and this data is used to mine critical information to connect members with economic opportunities. LinkedIn has been widely successful in leveraging this data to build products to facilitate economic opportunity through offerings like "Job Postings" and "Recruiter Search," which have helped members find jobs and recruiters find potential candidates, respectively. And today, we have another exciting update.
In order to provide an end-to-end hiring experience, LinkedIn is pleased to launch Talent Hub. Talent Hub is a candidate sourcing and management tool designed to meet the needs of mid-sized companies. It uses the data in LinkedIn's Economic Graph, along with a rich set of candidate management features, to give hiring teams complete visibility into every stage of the hiring process while providing utilities to aid that process. This includes the ability to post jobs, source candidates through Recruiter Search, and a variety of applicant management capabilities (like hiring pipeline management, interview scheduling and management, unifying candidate communication from different platforms, sharing candidate profiles for reviews, etc.).
An example view of the Talent Hub "pipeline" view for sourcing new candidates
In this blog post, we will discuss the foundational building blocks that were either built from scratch, or created by modifying existing platforms, to power LinkedIn's new Talent Hub product.
Foundational building blocks
The sections below provide an overview of the different platforms we built and leveraged when creating Talent Hub.
Talent Hub is a highly flexible and scalable web app built on top of several different foundational systems. For example, it uses: our in-house Galene stack to power search in different parts of the application, a custom rules engine to power automation, core services like Hire Access Control to determine data visibility and access, our in-house Air Traffic Controller system for optimizing communication and notifications to the users, and a wide variety of external services integrations to enable working with third-party services.
As we expect the product to evolve quickly and want to "future proof" the system for many more outside integrations, etc., Talent Hub is built using the multi-vertical API tier approach. This architecture makes managing smaller vertical microservices easier, and thus iterating and developing on it faster.
Data storage and structure
It is very tempting to use a relational database to power the Talent Hub, since there are several instances where we need to query for a certain range of rows like "querying all candidates who are in stage 'INTERVIEW'." However, we decided to use LinkedIn's in-house Espresso document-based key-value pair distributed data store for all Talent Hub data.
The following were the key criterion for doing this:
Although there are a few use cases for relational-like queries, largely the query pattern is fetching data associated with an entity, which typically manifests as a key lookup for most models. Large numbers of our queries fall into this pattern and hence NoSql was a more optimal fit.
Operational conveniences were also a factor, since it is easier to horizontally scale Espresso as our data grows.
Some use cases require querying batch data, which is usually difficult with NoSql databases. However, a key property of Espresso is that it allows querying for several rows using secondary indexes, as long as the rows being queried belong to one partition. This is because a partition is guaranteed to live in one node that uses a MySql database, which supports those kind of queries. We heavily leveraged this property of Espresso to support various queries to the database.
All Talent Hub users are within a dashboard ID that is set up at the time of creating an account. We use this dashboard (or "hiring context") as the partition key for all tables. Espresso allows for defining a multi-part key, where the first part represents the partition key. All Espresso tables in the Talent Hub ecosystem have hiring context as the first key part. See below for two tables with descriptions and their respective keys:
HiringProject: Top-level container associated with a requisition used to source and manage candidates.
Keys: /hiringContext/surrogateId
HiringProjectCandidate: Table containing the association between candidates (Prospect or Hiring Identity) and hiring projects.
Keys: /hiringContext/hiringProjectId/candidateId
The HiringProjectCandidate table's document schema also contains an index specification for the "state" field that specifies which state the candidate is in. As a result, queries of the following type can be made: Select all candidates who belong to the hiringContext=123 and hiringProject=568 and state='INTERVIEW'.
This allows us to use a distributed key-value pair database which scales to our needs, and at the same time allows for querying within a smaller chunk of data contained in a single partition.
Breaking the frontend API into verticals
Talent Hub has been the product of hundreds of engineers working together from various teams within LinkedIn. As with every engineering project, we want to avoid the law of diminishing returns. Therefore, every internet-facing API that our Ember and mobile application calls is its own microservice that makes no sideways calls to other microservices at the frontend tier. Instead, the frontend leverages an URN decoration framework that allows any referenced entity to be fully decorated when needed by the frontend (see Figure 1). By decoration, we mean resolving a reference to an entity and replacing it with data associated with that entity. For example, if the API containing candidates returns a reference to a LinkedIn member (a member URN), decoration would entail then expanding that referenced object to get firstName and lastName by calling an API containing data pertaining to that member.
Figure 1: All APIs are implemented as independent microservices with no direct dependencies. Decoration of URNs is performed in a separate layer inaccessible by the API application code.
When the frontend, for instance, needs to decorate a job posting URN returned in a search result from the search API, the frontend decoration framework automatically knows to route the decoration to the jobs API.
Finally, we avoid redundancy and code duplication by having a shared library containing infrastructure and common utilities used across the APIs. This has allowed us to scale horizontally and onboard new engineers quickly, because we avoid having a big monolithic code base and application. In the past, a monolithic code base has proven difficult to grow and scale to the size of our engineering organization.
The ability to scale to the large portfolio of LinkedIn's sourcing customers is not limited to scaling services and data stores; it also includes providing the ability to create customized workflows in the Talent Hub that can be self-serve configured by users. This allows LinkedIn's Talent Hub to cater to numerous different hiring workflow needs and processes, which can be very unique across different organizations. After evaluating a host of open-source, rule-based workflows, we decided to create our own REST-based, configurable rule engine, which allows for the level of customization we intend to offer and seamlessly integrates with LinkedIn's infrastructure.
A Rule consists of three entities:
Condition(s)
Action(s)
Each of the above are hosted by separate Rest.li services, which is LinkedIn's microservices architecture platform. See this blog post for details. So, a Rule is basically an association between a Trigger, a list of Conditions (which can have AND or OR clauses between them), and a set of Actions to execute. As a result, we are able to automate hiring workflows by configuring rules of the following nature:
Note that in the above rule, each of the conditions mentioned inside "[]" are atomic entities that can be reused in different rules. This is possible because Condition is a Rest.li resource and each condition manifests itself as a Rest.li object, which can be reused inside different Rules objects. So with a given catalog of system Trigger, Conditions, and Actions, it is possible to define numerous automation workflows based on needs of a client. It is also possible to create a Condition or Action that is a webhook callback, in case there is more customization required than what the system can support.
The Trigger consists of possible state changes, which in LinkedIn's ecosystem largely manifests as a Rest.li service call, a Kafka message (a distributed streaming platform, check this Apache project for details on Kafka), or a Brooklin message (data change capture system, see this blog post for details on Brooklin). Figure 2 below shows the sequence of events involved in executing a rule.
Figure 2: Rules engine architecture
External services integration
One of the core capabilities of the Talent Hub is its ability to work with other systems like HRIS, background check providers, interview schedulers, and assessment service providers, etc.
LinkedIn has a platform called GaaP (Gateway as a Platform) which is on a mission to turn the entire internet into one big Restful framework. With a Groovy-based scripting framework, GaaP allows developers to create a Rest-endpoint for external APIs and write it in a standardized format. This allows us to internally create a Rest API on top of services such as Google G-Suite and the Microsoft Graph API with the exact same models and methods, even though these APIs are radically different from each other in the real world.
Using these internal yet external APIs, we can easily write integrations that power core Talent Hub features such as interview scheduling and automatic synchronization of recruiting-related emails.
We use GaaP heavily in LinkedIn's Talent Hub for two core features:
Integrating with email providers to support "One Inbox" where recruiters can aggregate their communication on different platforms into one place.
Supporting automated interview scheduling. This requires sending invites to interviewers and keeping track of their responses. GaaP allows a user to query these external calendaring services and easily provides an integrated scheduling experience for our users.
Extensions Framework
In addition, we also built the Extensions Framework, which allows third-party apps to integrate with the Talent Hub and become a third-party service provider in LinkedIn's Talent Hub. An example of this integration is using Skype for interviews. The architecture of the Extensions Framework leverages LinkedIn's partner push platform and Rest.li gateway to allow for a flexible webhook-based integration with custom parameters which can be used to call a third-party service from the Talent Hub. Talent Hub's Extensions Framework exposes a set of core APIs for different supported use cases. Consider the "interview assessment" use case; in this instance, Talent Hub will expose a core "/assessments" API via a Rest.li gateway, which the third-party services can write into after the interview is conducted. Initiation of the interview assessment process is done by calling a webhook that the third-party service provider provided at the time of configuring the integration.
It is critical that the Talent Hub is able to support a large spectrum of third-party service providers across different candidate management capabilities, and the only way to make this happen in a scalable way is to build an infrastructure which is easy to scale to all future externalization use cases. Extensions Framework is designed in this way because it has a set of generic core use case APIs.
Powering search with Galene
One way we are building delightfulness into the search experience of our Talent Hub is by leveraging LinkedIn's existing search infrastructure framework, Galene. Originally built to power LinkedIn's member, company, and job search, Galene allows us to bring powerful relevance, faceting, and super speedy search results over hundreds of millions of indexed records in just a few milliseconds. We use Galene to power several product features, such as:
Recruiter Search, a flagship offering from LinkedIn's sourcing product ecosystem.
Searching through thousands of job applicants.
Searching through several projects in a single customer's account with different filters and facets.
Notifications using ATC (Air Traffic Controller)
ATC is a platform built to improve the communication experience to LinkedIn members. It is described in detail in this blog post. One of the challenges with having all the communication to Talent Hub users go through ATC was that ATC is intended to be a platform for LinkedIn member communication and notifications. A user on LinkedIn's Talent Hub is represented by an Enterprise Profile, which is a profile associated with a user who uses an enterprise product from LinkedIn. This user may or may not have bound their LinkedIn member profile with the Enterprise Profile. ATC originally did not support Enterprise Profiles as a recipient type for communication, but as part of building foundational blocks for Talent Hub, we modified the ATC system to support Enterprise Profile users. Now, all communication to LinkedIn Talent Hub users can be regulated by ATC's processing features. Some of these features include:
Channel selection (Push, in-app, email, or SMS)
Following up in different channels
Capping, aggregation, and digesting of notifications
Impression discounting
Delivery time optimization
De-duping
Core platform services
We built a number of core services that are used throughout the Talent Hub. Two such notable services include:
Hire identity service
Hire access control service
This service hosts identity information for a potential candidate in the hiring pipeline. It assimilates profile information from different sources, one of which is LinkedIn member data. It is totally acceptable to have candidates in the hiring pipeline who are not LinkedIn members, so these are typically uploaded by Talent Hub users by entering their information. If we are able to find a member after their information is entered, we will bind this profile with the member. Hire identity service is the source of truth for candidate data in Talent Hub and all of Talent Hub's features use this identity to build candidate features.
Talent Hub usually contains highly sensitive data, including candidate reviews, interview feedback, compensation information, etc. In some cases, the entire hiring project could be highly confidential because it is associated with a sensitive or strategic requisition. This requires the Talent Hub app to strictly enforce data visibility policies which are exposed through a centralized access control app. In Rest.li, a microservice is responsible for surfacing data owned by that Rest.li model and is expected to be the single source of truth for that data. By integrating all these Talent Hub related microservices with the hire access control service, we have been able to enforce visibility restrictions on Talent Hub data.
LinkedIn's Talent Hub serves as a one-stop shop for all hiring needs, including sourcing and candidate management. Talent Hub is meant for mid-sized companies and is thus an enterprise offering from LinkedIn. However, unlike a lot of other enterprise software, Talent Hub is built in a way that provides consumer-like, delightful experiences to users.
The pilot program for Talent Hub begins in January, and it will be globally available later next year. We couldn't be more excited to bring you Talent Hub and can't wait to hear what you think.
This has been a massive initiative for LinkedIn and is a result of several quarters of dedicated effort from engineers belonging to the Hire and Careers organization. However, it would have been impossible to realize this vision without the leadership of Manish Baldua, Dan Reid, and Shen Shen, along with the dedication of the entire Talent Hub team.
Under the hood: Updating LinkedIn's UI
Under the hood: Learning with documents

redpajama_set_name: RedPajamaCommonCrawl


'Heartbroken' woman issues appeal after thieves stole her baby's ashes.
Siobhan Gracely had already endured a loss few could understand. In September 2016, her baby boy, Julien, had died at just 11 weeks old.
Then this week, another heartbreak.
While the Texan woman and her husband, AJ, were away for a half-marathon in San Antonio, a roughly three-hour drive away, thieves broke into their Houston home and fled with jewellery and a small ceramic box.
Inside that box, which is topped with a picture of a teddy bear, are Julien's ashes.
The stolen box. Image: Facebook.
In a Facebook post, Siobhan's sister, Caroline Kalil Baizan, wrote that the thieves had smashed through the backdoor of the couples' rented home, and left designer handbags, electronics and an Amazon delivery on the porch untouched.
"I am certain they thought the box containing the ashes was used to store jewellery," she wrote.
"When they do unscrew the cube, they will throw the box along with [Julien]'s ashes away."
In an appeal via a friend's Facebook page, Siobhan pleaded for the safe return of the precious box.
"We are heartbroken. We know our baby is in heaven but want his ashes back," she wrote.
"Crime Stoppers are involved as well. But spread the word...maybe just maybe someone will have the heart to return them to us."
In October, an Australian couple went through a similar ordeal. A silver box containing the ashes of Donna and Nigel Tweed's twin daughters, who died at birth 13 years earlier, were stolen during a burglary of their Gold Coast home.
After desperate appeals via local media, the box was discovered on the roof of local tradesman's ute just a few streets away from their home. It was handed in to police and returned to the family less than 24 hours later.
"My reaction was, have you found my baby girls and the police lady said yes," Donna told myGC at the time.


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How to Break Ground for Deaf Actors in Hollywood
Marlee Matlin, star of Freeform's Switched at Birth, looks back on how the show became a "game changer" for diverse thespians before its final episode.
In Switched at Birth, Marlee Matlin plays educator Melody Bledsoe. (Photo: Freeform)
When deaf characters talk to one another on Switched at Birth, the Peabody award-winning family drama on Freeform, the sound cuts out. Characters sign to each other, subtitles scroll, and the means that these individuals use to interact with the world take precedence over the auditory environment of hearing viewers.
Switched at Birth has been portraying sign language onscreen since the series' beginning. In the first episode, which aired in 2011, a wealthy family meeting their deaf biological daughter for the first time offers to pay to "fix" her with cochlear implant. Over the course of the show, that family learns to accept her preferred means of communication — and, by the time the finale airs tonight, every member knows how to sign and communicate with her.
For the past five years, and across 103 episodes, Switched at Birth has opened up conversations about difference, inclusion, family, and community. One pivotal character who has sparked some of those discussions has been Melody Bledsoe, an educator and mother of Emmett (Sean Berdy), played by Marlee Matlin. Bledsoe often provides the diverse community of deaf and otherwise sign language-using characters in the show with some historical perspective on the Deaf rights movement—in one episode, when several young students stage a sit-in of a school for the deaf that is threatened with closure, they compare their actions to Bledsoe's at the famous Deaf President Now protests at Gallaudet University in 1988.
Matlin's own career took off in the same era as the Gallaudet protests: The actress, who is deaf herself, won an Academy Award for her role in Children of a Lesser God in 1987, played the iconicpollstercharacterJoey Lucas on The West Wing from 2000 and 2006, and has appeared in dozens of other shows and films. And when she's not acting, Matlin is a major advocate for accessible media. She has teamed up with the Deaf rights organization HEARD and the American Civil Liberties Union to make a public-service announcement on the rights of deaf civilians during police interactions, is pushing Broadway to become more accessible to deaf and hard-of-hearing theatergoers, and won an award from the Ruderman Foundation for her career-longefforts to make media more inclusive both onscreen and behind the scenes.
To commemorate the show's revolutionary depiction of deaf characters, we spoke with Matlin over email about Switched at Birth, accessible media, and the state of disability representation on television.
Let's start with Switched at Birth. When I first heard the premise, it sounded like a pretty light show — but it's changed the conversation about disability on TV. What, in your mind, is its legacy?
I knew from the start that there was something unique and groundbreaking about the show. [Creator] Lizzy Weiss invited me to watch the pilot, and when I saw not only one deaf actor, but a number of them all signing, subtitled, and incorporated in a manner that I had only dreamed should happen in TV, I knew she had done her homework. Switched at Birth proved that deaf actors can be part of any TV show and there should never be a worry that somehow it wouldn't work. Switched at Birth was definitely a game changer for the community of deaf actors in Hollywood, as well as viewers eager for diversity.
Can you tell me a story about about being on set when the show felt different to you?
It felt different the first day I walked on the set and was asked to do my lines without having to worry about having to speak, without having to think about the actor who would be translating my signs into responses that made it clear what I was saying or who was interpreting for me. My hands, my language, did all the talking, and captions took care of the rest. That was the moment I realized that I was finally free to act with the means that I was most comfortable with as an actor who happens to be deaf and who communicates in American Sign Language. Acting finally was available to me just like everyoneelse.
Still, the overall landscape for disabled actors is pretty grim, with few roles written as disabled, and few disabled actors cast even in those roles. Do you feel conditions are getting better or worse for those actors?
The situation appears on the surface to be better for actors with disabilities. Breaking Bad, Speechless, [and] Switched at Birth all featured actors who were deaf or who had disabilities. But the statistics tell a different story. People with disabilities make up 20 percent of the population and yet only 5 percent of roles in film and TV have deaf/disabled roles. And of this 5 percent, only 5 percent are played by actors who actually have a disability. That is unacceptable. Fortunately, with shows like Speechless and Switched at Birth, younger people are getting it, and they'll be the ones making the decisions in the future.
How should advocates for deaf or disabled actors in Hollywood build on these successes?
[Through] social media, videos, and making noise. Fortunately, there are so many more avenues for getting attention [now] than there were 30 years ago when I won my Academy Award, and they all have to do with social media. And we can make our own work; YouTube, Snap[chat], and streaming media are open to all and accessible to anyone who has a story to tell.
Is your Wizard of Oz story — where you wanted to watch the movie with your daughter, in part because Dorothy was your first acting role, but couldn't find a captioned version online — a good example?
With one tweet, I got over 300,000 people aware of the lack of access when it came to streaming content played without captions. These 300,000 then acted upon it, made more noise, and helped spread the message that no one should ever be left out simply because they are deaf. The movement is growing and people are no longer willing to accept the status quo of no captions.
Like a lot of people, I've been streaming The West Wing, and so am thinking about your characterJoey Lucas. In the first two seasons, Lucas keeps arguing that, when Americans don't understand something, the answer isn't to despair, but to educate. Today, we're in a world in which America isn't just divided by partisanship — we can't even agree on basic facts. Can the arts help us cross those lines? Is that something you see yourself doing?
The arts have always helped cross the lines, and informed, educated, and entertained all at the same time. Look at what Deaf West Theater did on Broadway with Spring Awakening and Big River this past decade, what Children of a Lesser God did 30 years ago onscreen and 35 years ago on the stage, and what the National Theater of the Deaf did 50 years ago — they opened the eyes and ears of Americans who had no idea what deaf actors could do.
Now, with the support of the arts being threatened by the current administration, there may not be any new opportunities to expand the effort toward diversity that was so often the case when the government supported the arts. To me, this is unacceptable and it's time for me to drum up that Joey Lucas attitude that allowed her to bellow, "You idiot! I'm Joey Lucas!" and try and make a lot of noise.
The Ps Interview
David M. Perry is a former professor of history and a contributing writer at Pacific Standard's Ideas section on the topic of health-care access. He's currently senior academic adviser to the Department of History at the University of Minnesota.


Happy New Year- Enjoy 10% off!
What is the best way to kick off a new year? With a new offer of course!
Take advantage of the opportunity to receive 10% off the cost of ANY Bigfoot programme, to take place in January and February 2017. With so many exciting events taking place in schools this term, from Safer Internet Day to World Book Day and Shakespeare Week, you can't afford to say no!


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May 30, 2019 May 30, 2019 by Tom E
Plain, Simple Tom reviews . . . "Godzilla: King of the Monsters" (2019)
The sequel to Gareth Edwards' 2014 film Godzilla and the third entry in Legendary's "Monsterverse", King of the Monsters begins with Monarch scientist Emma Russell (Vera Farmiga), along with daughter Madison/"Maddy" (Millie Bobby Brown), using a device called the Orca that is able to "communicate" with the fabled titans that were apparently on Earth long before us, using it on the newly awakened winged creature known as Mothra, but the facility is attacked by eco-terrorists led by Alan Jonah (Charles Dance) and mother, daughter and the important Orca device are taken, the group of mercenaries revealing that their grand plan is to use the device to free the many other titans hidden around the world in order to put an end to the world's overpopulation and mankind's destruction of the planet. Monarch scientists and soldiers, along with Maddy's estranged "animal behaviour expert" father Mark (Kyle Chandler), all attempt to rescue the scientists and to get the device back but as several seemingly unstoppable beasts are unleashed, including the flying Rodan and the mighty King Ghidorah, they soon find themselves relying on old "ally" Godzilla in order to defeat the monsters and to prevent the destruction of Earth.
I get the impression that many people had high hopes for this film given that 2014's Godzilla is seen by some as an underappreciated gem but for me, I'm not exactly a diehard fan of this popular world of monsters, not knowing too much about the likes of Mothra, Rodan or King Ghidorah, but I thought that Gareth Edwards' film was quite good (though I've admittedly forgotten a lot of it) and after Kong: Skull Island, I was most curious to see the latest entry in the Monsterverse, interested as I am by these popular cinematic universes.
So while my expectations were neither high nor low, I ultimately didn't think too much of King of the Monsters; it has a couple of entertaining "boss battles", the score is good and there are a few individual shots that are admittedly rather epic, but I also found most of it (the second half, in particular) to be really boring, most of it looks murky and dull, and there's a surprising lack of "monster vs. monster" smackdown-ness, certainly not enough to make this film worth racing to see in the cinema.
Starting off with the all important monsters (because that's the main appeal of these films, right? Any good characters and/or plot is just a bonus?), this film does indeed introduce Mothra, Rodan and King Ghidorah into the Monsterverse so it undeniably includes more titans than the two previous films and a satisfying enough amount of time is spent seeing them dominate the screen. But while they're nicely designed and all of them genuinely feel gargantuan and intimidating, the big battle scenes with them involved aren't as epic or as amazing as they should have been because those all important scenes are choppily edited, so it's often difficult to see just what's going on, there's usually lots of flashing lights which becomes annoying, and the fight scenes (as well as the whole of the film, actually) looks very murky and drab, using an earthy colour palette that makes everything look unappealing and dreary. But saying that, there are one or two individual shots that do look epic: scenes where King Ghidorah is shown as a shadow through mist or in two separate scenes where Godzilla and Ghidorah face each other are the film's "perfect shots".
With films like this, it must be a challenge to give the audience a fair share of "monster smackdown action" while balancing it with a good story that involves the human characters but King of the Monsters doesn't really manage this balance well enough. 2014's Godzilla was criticized for being too "human-centric", not giving Godzilla enough screen time (though I thought he did plenty and thought that the story was actually alright), and with Kong: Skull Island, the Kong sequences were the very best parts of the film but everything else (the characters and the story) was throwaway; with King of the Monsters, the story is dull, overly expositional and certainly nothing to write home about and the characters are two dimensional but at the same time, it doesnt even deliver on its action sequences as there aren't enough of them and the ones we do see are visually drab and only sporadically entertaining. So it's a shame that King of the Monsters is unable to achieve the ideal balance of the "human story" and monster spectacle. Efforts to deliberately mention Kong and Skull Island, directly placing this film in the Monsterverse and setting things up for Godzilla vs. Kong, is also clumsily done and really quite tiring.
But Mothra is the star of the show, to be fair as she has the most appealing design and as we get to learn a little about her "relationship" with Godzilla, we see her in a particularly interesting light. So a big win for female parts with no dialogue. Ha!
And Rodan ends up as the fifth wheel as he adds nothing to the story and is ultimately quite superfluous. Poor guy.
The film has an okay cast made up of some big names but none really shine and most just do their job efficiently, nothing more. Kyle Chandler, Vera Farmiga, Millie Bobby Brown, Thomas Middleditch, Ken Watanabe and Zhang Ziyi are all solid performers, Bradley Whitford brings his usual charm as the Rick Sanchez inspired Monarch technician, the great O'Shea Jackson Jr. is surpringly memorable in his supporting soldier role, often pointing out the more ridiculous parts of the story, Charles Dance plays the villainous role in his own recognisable way (he could play this stock character in his sleep) and, despite receiving top billing, Sally Hawkins is BARELY in it and adds nothing to the feature. Did she even need to turn up in the first place?
Well, that's about all I have to say. Godzilla: King of the Monsters has one or two epic moments and Bear McCreary's score is effective but it eventually got to a point where I struggled to remain alert as the story is boring, the characters are forgettable and the scenes of the titans fighting, what we all came to see, are surprisingly bland and not nearly as memorable or as thrilling as they should've been. But at least this cinematic universe has lasted longer than the Dark Universe, eh?
And there IS a post-credits scene. It's not a good one, there's no Godzilla vs. Kong teaser, but it's there. Just FYI.
A handful of epic moments but an otherwise forgettable film with a boring story, bland characters, murky visuals, and surprisingly disappointing action sequences.
Posted in 2019, Film Reviews
Previous Plain, Simple Tom reviews . . . "Aladdin" (2019)
Next Plain, Simple Tom reviews . . . "Ma" (2019)
2 thoughts on "Plain, Simple Tom reviews . . . "Godzilla: King of the Monsters" (2019)"
Damn it I am seeing this on Saturday It looks like a movie that would be perfect for the big screen and that is it. I hope Im at least somewhat entertained I will keep your views in mind when I go
Silver Screenings says:
Although I like monster flicks, I don't have high hopes for this one, but I will see it when it comes out on iTunes.


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As I Lay Dying announce first North American tour since 2013
Beth Casteel
As I Lay Dying have announced their first North American headlining tour since reuniting as a group after Tim Lambesis' release from prison.
Read more: As I Lay Dying announce first tour since 2013
Yesterday, the band took to their social media pages where they announced dates for a 15-date European tour, and today, they revealed plans to tour around North America.
The band's North American tour kicks off on Nov. 2 in Pheonix, Arizona and it wraps up on Nov. 18 in Pomona, California with tour support still to be announced.
Both tour announcements mark the first time that the band has toured together as a group since 2013.
Check out a full list of both tours below.
11/02 – Phoenix, AZ @ Club Red
11/03 – Tucson, AZ @ The Rock
11/05 – San Antonio, TX @ Alamo Side Room
11/06 – Dallas, TX @ Trees
11/07 – Lubbock, TX @ Jake's
11/08 – Denver, CO @ Oriental Theater
11/09 – Grand Junction, CO @ Mesa Theater
11/10 – Salt Lake City, UT @ The Complex
11/12 – Seattle, WA @ Chop Suey
11/13 – Portland, OR @ Hawthorne Theater
11/14 – Reno, NV @ Cargo
11/15 – Sacramento, CA @ Holy Driver
11/16 – Chico, CA @ Senator Theatre
11/18 – Pomona, CA @ The Glasshouse
As I Lay Dying European Tour Dates:
12/01 – Bochum, Germany @ Matrix
12/02 – Eindhoven, Netherlands @ Dynamo
12/03 – Antwerp, Belgium @ Zappa
12/04 – Paris, France @ La Maroquinerie
12/05 – Aurau, Switzerland @ Kiff
12/06 – Bologna, Italy @ Locomotive Club
12/07 – Wien, Austria @ SiMM City
12/08 – Munchen, Germany @ Backstage
12/09 – Karlsruhe, Germany @ Substage
12/10 – Prague, Czech Republic @ Futurum
12/11 – Warsaw, Poland @ Hydrozagadka
12/12 – Berlin, Germany @ Musik & Frieden
12/13 – Hamburg, Germany @ Logo
12/14 – Hannover, Germany @ Musikzentrum
12/15 – Chemnitz, Germany @ AJZ
The band ended their lengthy career back in May 2014, when the band's frontman Tim Lambesis was sentenced to six years in prison for a charge of solicitation of murder after he tried to hire a hitman in a murder-for-hire plot against his then-wife.
Per a report from Metal Injection, Lambesis only served two and a half years of his prison sentence before getting out early 2017.
Fast forward to June of this year, As I Lay Dying released their first single in almost five years, titled "My Own Grave." The band also shared the news that they would be playing their first show as a reunited group.
The band played their first show as a newly reunited group on June 16 at Soma Sidestage in San Diego, California. A day after the performance, the band dropped a video recap detailing the experience.
The band said in a statement: "We are thankful for an environment of love and positivity within and around our renewed relationships. To the family, friends, crew, and fans in attendance at our recent San Diego show, we would like to express our deepest sense of gratitude for making the evening such a meaningful experience."
Additionally, the band posted a video detailing their return and the reasoning behind their decision to return to their "classic" lineup of Nick Hipa, Josh Gilbert, Jordan Mancino, Phil Sgrosso and Tim Lambesis.
As I Lay Dying hasn't released a new album since their sixth studio album, 2012's Awakened.
What do you think of the band's return? Sound off in the comments below.
north american tour


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Polling Abbey
Polling, Germany
According to legend, the founder of Polling Abbey was Duke Tassilo III of Bavaria in about 750, but it seems more likely that the founders were members of the powerful Bavarian noble family of the Huosi.
Initially this was a Benedictine monastery, but later became a house of Augustinian canons. The abbey was dissolved during the secularization of 1803 and the buildings were mostly demolished between 1805 and 1807.
The important late Gothic abbey church with early Baroque stucco work by the Wessobrunn stuccoist Georg Schmuzer is now the parish church.
Part of what few buildings remained came into the possession of the Dominican sisters in 1892. The dispensary and the service block passed into private ownership.
The unique library of Polling Abbey was restored in 1970-1975 and may be visited by arrangement. A hospice is also accommodated in the remaining premises on the former abbey site.
Monasteries in Germany
Religious sites in Germany
Part of The Frankish Empire (Germany)
Weilheimer Straße 1, Polling, Germany
See all sites in Polling
Founded: 8th century AD
Category: Religious sites in Germany
Historical period: Part of The Frankish Empire (Germany)
St. Peter's Church (49 km)
New Town Hall (49 km)
Old Town Hall (49 km)
The Church of Our Lady (49 km)
Neuschwanstein Castle (40,2 km)
Munich Residenz (49,5 km)
Haus der Kunst (50,1 km)
Deutsches Museum (48,8 km)
Propylaea (49,2 km)
Sarah Bernard (5 months ago)
Michal Turek (7 months ago)
Danilo Tabatschnikow (9 months ago)
Hanin Osama (10 months ago)
Jan Marienfeld (11 months ago)


California has more than 6,000 schools and last spring the California Superintendent of Public Education Tom Torlakson announced that 14 WCCUSD schools had been awarded the Gold Ribbon Schools Award.
The award recognizes the schools that have implemented the state adopted academic content and performance standards in subjects such as English, mathematics and science.
Coronado (Principal Linda Cohen), Fairmont (Principal Galen Murphy), Hanna Ranch (Principal Greg Santiago), Harding (Principal Linda Takimoto), Kensington (Principal Judith Sanders), Madera (Principal Alison Makela), Montalvin (Principal Katherine Acosta-Verprauskus), Olinda (Principal Amandeep Kaur Randhawa), Peres (Principal Jawan Eldridge), Riverside (Principal Christine Hatcher), Sheldon (Principal Melissa Sigars), Valley View (Principal Ann Marie Marinakis), and Washington (Principal Lisa Levi) elementary schools are all recipients of the 2016 California Gold Ribbon Schools Award, reflecting the District's continued emphasis on student achievement.
Peres received the award for its Efficacy Model, which emphasizes a "think you can, work hard, get smart" mindset for students, staff and stakeholders. It has helped to raise API scores at the school from 456 in 2001 to 810 in 2014.
"At Peres, we know all children can learn at high levels through efficacy and all of our programs are designed to advance the mission of academic proficiency and strong character through hard work," Principal Jawan Eldridge said.
Washington Elementary earned the Gold Ribbon Award for its Dual Language Immersion program, which includes participation from parents as well as teachers and students. Principal Lisa Levi said combined efforts of parents, teachers and students are what makes the program a success.
"The schools that have been named Gold Ribbon schools are evidence that we are on the right track when it comes to improving outcomes for students," Board President Randy Enos said in a district statement.
The award, which recognized middle and high schools last year and focused on elementary schools this year, was created in place of the California Distinguished Schools Program, which is on hiatus while California creates new assessment and accountability systems.
The Gold Ribbon Award recognizes schools that have made gains in implementing the academic content and performance standards adopted by the State Board of Education, including the California Standards for English Language Arts and Mathematics, California English Language Development Standards, and Next Generation Science Standards.
De Anza High School (with Bob Evans as Principal) earned a Gold Ribbon in 2015, the first year of the program.
On Saturday September 16th the community was welcomed to an event at Coronado Elementary School to hear presentations from students, school representatives and District Officials to honor those responsible for these momentous achievements.


On Thursday, the Cleveland Cavaliers travel to take on the Oklahoma City Thunder at 12 pm (AEDT) on NBA League Pass.
The headline matchup in this one comes from the two point guards facing off, rookie Collin Sexton and former MVP Russell Westbrook.
Sexton drew plenty of comparisons to Westbrook coming out of college because of the high-energy style of play they both bring every time they step on the floor. When Sexton was asked about being compared to Russ, who is one of his favourite players, he stated, "I just like the energy he plays with night in and night out. He doesn't take any plays or games off."
It's more likely you see something along those lines tonight. When the Cavaliers and Thunder met earlier this season Westbrook was out with a sprained ankle, so this will be the first matchup between the two explosive guards.
Sexton has been terrific as of late for the Cavaliers - over the last nine games since becoming the starting point guard he's averaged 18.7 points, 3.8 rebounds and 2.8 assists per game while shooting 47.7 percent from the field, 47.6 percent from three and 84.2 percent from the free throw line. Three of the Cavaliers' four wins have came in those last nine games, including back-to-back wins over the Houston Rockets and Philadelphia 76ers in which Sexton had 29 and 23 points, respectively.
As for the Thunder, they've won seven of their last 10 games and are 12-3 since starting 0-4. They're coming off of a tough loss to the Denver Nuggets despite a triple-double performance from Westbrook and have not lost back-to-back games since their four-straight losses to start the year.
Westbrook is averaging 23.2 points, 9.5 rebounds, 9.3 assists and 2.1 steals per game through 11 games played. Oklahoma City is 7-4 in games that Russ has played.


Axel (Santiago Segura), an idiosyncratic personality, goes on a search for his former bandmates in Buenos Aires. 25 years ago they formed a musical band that was about to be famous but for some mysterious reason never made it. Axel now is going to have to reconnect with Javier (Diego Peretti), a teacher who cannot communicate with his teenage son, and Lucas (Diego Torres), a conceited lawyer who loses his job all of a sudden. A double challenge awaits them: to be the band they always dreamed of, and as if that were not enough, to solve the mess that is their lives.
Miami: Opens April 27 at Tower Theater.


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NOBUYA MONTA
Nobuya Monta was born in Osaka, Japan. He studied oboe with Isamu Iwasaki at Kyoto City University of Arts and then received a master's degree specializing in composition from Osaka Kyoiku University. Nobuya completed his studies in composition with Tim Ewers and Edward Gregson at Goldsmiths' College, University of London. He regularly writes concert reviews for Ongaku-Gendai, one of Japanese major musical magazines. Nobuya Monta is Guest Professor of Otemon Gakuin University and has been appointed Composer in Residence at the Hastings International Composers Festival in 2013 and 2015. (www.composersfestival.com).
His major works include: Sonata for Clarinet and Piano No.3 (premiered by Michele Incenzo and broadcast on the Vatican Radio in 2005 and 2009), Œuvres pour Clarinette de N. Monta (held at La Maison du Japon in Paris in 2008), Sonate des Fleurs (premiered by Detmar Kurig in Aachen, Germany in 2009), Passacaglia on Itsuki no komoriuta (premiered in Yokohama, Japan in 2010), Concerto for Cello and Strings (premiered in London in 2010), Concerto for Piano and Strings (premiered in Oxford in 2011), Concerto for Violin and orchestra (premiered by Lisa Ueda and Kingston Chamber Orchestra conducted by Andy Meyers in Kingston, UK in 2012), Concerto for Guitar and Orchestra (premiered in Hastings, UK in 2013), An Imaginary Dialogue (written for the special exhibition 'Wordsworth and Basho: Walking Poets' in 2014 (soundtrack released at: https://wordsworth.org.uk/shop/cds-and-dvds/cd-nobuya-monta-basho-soundtrack.html), Choral Suite 'Conflict and Peace', premiered by Winchester Consort in Winchester Cathedral in 2014.
Nobuya Monta's publications include: Sonata for Clarinet and Piano No.2 & No.3, Trio for Clarinet, Violin and Piano (Armelin Musica–Padova (www.armelin.it), Netherlands Fantasy, 5 Sketches of Holland for Two Alto Recorders, Kuroda-bushi for Two Oboes and English horn (Recorder JP, www.recorder.jp).
Nobuya Monta with music colleagues in Paris, France


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Q: Unable to save Cartopy generated figure to pdf file using Matplotlib I'm using Cartopy to generate a bunch of plots on a lat/long grid (upgrading from Matplotlib's Basemap) and even though the plotting isn't kicking up any errors my code fails when I try to save the figure to a multiple page PDF file using Matplotlib's matplotlib.backends.backend_pdf.PdfPages.
Here are the relevant portion of code:
import cartopy
import cartopy.crs as ccrs
from matplotlib import colorbar, cm, pyplot
from matplotlib.backends.backend_pdf import PdfPages
from matplotlib.font_manager import FontProperties

(fig, axis) = pyplot.subplots(nrows=1, ncols=1, subplot_kw={"projection": ccrs.PlateCarree()})

fout = PdfPages("Junk.pdf")
fout.savefig(fig)

I've verified that fig is of type matplotlib.figure.Figure.
The error that I get is:
File "./plot_cfba.py", line 326, in <module>
    fout_tmp.savefig(fig[0])
  File "/data/science_TC/kmueller/toolkit/python/3.6.9/lib/python3.6/site-packages/matplotlib/backends/backend_pdf.py", line 2445, in savefig
    figure.savefig(self, format="pdf", **kwargs)
  File "/data/science_TC/kmueller/toolkit/python/3.6.9/lib/python3.6/site-packages/matplotlib/figure.py", line 2180, in savefig
    self.canvas.print_figure(fname, **kwargs)
  File "/data/science_TC/kmueller/toolkit/python/3.6.9/lib/python3.6/site-packages/matplotlib/backend_bases.py", line 2089, in print_figure
    **kwargs)
  File "/data/science_TC/kmueller/toolkit/python/3.6.9/lib/python3.6/site-packages/matplotlib/backends/backend_pdf.py", line 2503, in print_pdf
    self.figure.draw(renderer)
  File "/data/science_TC/kmueller/toolkit/python/3.6.9/lib/python3.6/site-packages/matplotlib/artist.py", line 38, in draw_wrapper
    return draw(artist, renderer, *args, **kwargs)
  File "/data/science_TC/kmueller/toolkit/python/3.6.9/lib/python3.6/site-packages/matplotlib/figure.py", line 1709, in draw
    renderer, self, artists, self.suppressComposite)
  File "/data/science_TC/kmueller/toolkit/python/3.6.9/lib/python3.6/site-packages/matplotlib/image.py", line 135, in _draw_list_compositing_images
    a.draw(renderer)
  File "/data/science_TC/kmueller/toolkit/python/3.6.9/lib/python3.6/site-packages/matplotlib/artist.py", line 38, in draw_wrapper
    return draw(artist, renderer, *args, **kwargs)
  File "/data/science_TC/kmueller/miniconda3/lib/python3.6/site-packages/cartopy/mpl/geoaxes.py", line 372, in draw
    gl._draw_gridliner(background_patch=self.background_patch)
  File "/data/science_TC/kmueller/miniconda3/lib/python3.6/site-packages/cartopy/mpl/gridliner.py", line 338, in _draw_gridliner
    x_lc = mcollections.LineCollection(lines, **collection_kwargs)
  File "/data/science_TC/kmueller/toolkit/python/3.6.9/lib/python3.6/site-packages/matplotlib/collections.py", line 1331, in __init__
    **kwargs)
  File "/data/science_TC/kmueller/toolkit/python/3.6.9/lib/python3.6/site-packages/matplotlib/collections.py", line 162, in __init__
    self.update(kwargs)
  File "/data/science_TC/kmueller/toolkit/python/3.6.9/lib/python3.6/site-packages/matplotlib/artist.py", line 974, in update
    ret = [_update_property(self, k, v) for k, v in props.items()]
  File "/data/science_TC/kmueller/toolkit/python/3.6.9/lib/python3.6/site-packages/matplotlib/artist.py", line 974, in <listcomp>
    ret = [_update_property(self, k, v) for k, v in props.items()]
  File "/data/science_TC/kmueller/toolkit/python/3.6.9/lib/python3.6/site-packages/matplotlib/artist.py", line 970, in _update_property
    .format(type(self).__name__, k))
AttributeError: 'LineCollection' object has no property 'xloc'

I'm using matplotlib version 3.1.2, Cartopy 0.17.0 and python 3.6.9.
Is there a mismatch between these versions of Matplotlib and Cartopy?  Do I need to upgrade one of them to match the other?
This code used to work fine but now that I'm making my maps using Cartopy things broke.

A: As it turns out, the problem was entirely of my own making.  The "axis.gridlines" call should pass in "xlocs" and "ylocs" rather than "xloc" and "yloc".
I should have looked at the error message more carefully.  I got caught out by the fact that the "savefig" call bombed when the problem was really in "axis.gridlines" thereby sending my thinking in the complete wrong direction.

redpajama_set_name: RedPajamaStackExchange


text:
Links&Contact
C. Jade Wyton
May 11, 2022 October 11, 2022 Catwyton
Becky Bloom, still recovering from a very traumatic month where far too much has happened in a short amount of time, decides she wants to try and make herself lunch. She has never cooked before, but she is confident that with the power of internet tutorials she can put something together. 2,013 words.
The world of Shadow Oaks is owned by TheStalkerBunny on tumblr. It is a brilliant piece of work and I recommend reading more about it HERE.
self-deprecation
Becky was still reeling from the horrible experience of being stuck as a dog. Even now, three days after turning back, she was still finding herself barely able to function.
The day after she'd turned back she'd stayed home from school. But then, she'd been bored and lonely and restless; so she'd gone to school the next day.
But then, everyone had been asking where she'd been, and if she was okay, and she'd just felt tired, and ill, and irritable. So she'd called Isa to take her home halfway through the day.
And now, she was skipping again today.
She hadn't wanted to stay home, which was weird to say given her usual attempts to escape school…. But she had really, genuinely wanted to be with her friends. Not stuck at home again. But she just… needed a few more days to recover from everything.
It sucked.
And now she was hungry, and bored, and Isa wasn't home, and she didn't feel like any of the leftovers they had….
Becky gave a sigh and shut the fridge. Then immediately opened it again like she was expecting something different.
But it was all the same food….
Hm…. What did she want?
She wanted cheese.
She pulled out the bag of grated cheese and, quickly listening out to confirm that Isa was, in fact, still out and not at home to scold her, ate a handful.
She didn't want cheese like this.
She wanted melted cheese.
So she put some in a bowl, and microwaved it for half a minute. And then she realised that no, no… that also wasn't what she was feeling like.
She wanted cheese cooked properly.
With pasta.
Mac and cheese!
She wanted mac and cheese!
But… Isa wasn't home to make it for her….
Becky heaved a sigh and opened the fridge to put the cheese away.
It really sucked that she didn't know how to cook.
There were so many times that she wanted to eat something specific, but didn't want to ask for it.
It sure would be nice to be able to just be able to do it all herself….
Becky paused, the fridge door still open, as she had a thought.
Up until recently she hadn't known how to draw. But then she'd learnt how. She'd asked her father to teach her….
Maybe she could ask Isa to teach her how to cook, sometime?
It didn't help for now, obviously. She couldn't ask Isa now, while she wasn't home…. But she could ask Isa when she got back, and start learning how to cook for next time she was hungry.
Becky's hand slowly found its way into her pocket, and she pulled out her phone.
She'd taught herself how to use magic by looking it up on the internet. Nobody had helped her with that except for YouTube and EasyDruidTutorials4You.com….
Maybe she could do the same, with cooking?
Becky opened up her YouTube app, and tried a search:
how make mac and cheese
Oh, there were so many results!
Becky felt herself light up.
There were at least, like, fifty of them!
Carefully selecting a video with the word "simple" in the title, Becky watched it through once, then propped her phone up on Isa's cookbook holder and started the video again.
Cheese, milk, and pasta.
There was no way she could get this wrong!
'Okay,' Becky said to herself, retrieving a small pot and all of the ingredients she needed. 'So… boil the pasta in milk. I can do that….'
She could do this!
Becky added a handful of pasta and a cup of milk to the pot and started cooking it on a… medium heat?
What the hell was a "medium heat?"
Did that mean she used the… medium sized burner on the stove?
She turned it on. All the way on, maybe?
Oh— God!
That dial made the flame change size?!
'Uh…. Maybe that is what medium heat is?!' Becky guessed as she turned the dial midway. 'That seems… right….'
'Becky?'
Becky jumped as her father's voice spoke from the kitchen entrance, and she whirled around to see Ken as he slowly crept in.
'Becky?' he repeated. 'Honey? What are you doing?'
'Making mac and cheese!' Becky beamed, lifting up the wooden spoon she'd been using to stir and grinning widely. 'I'm using a tutorial I found online!'
'Oh, that's— That's wonderful!' Ken's confusion turned to pride, and he passed her to the fridge. 'Let me know how it goes!'
'I will!' Becky replied cheerfully. 'What are you eating?'
'Melon,' he answered, holding up a container of cantaloupe that Isa had chopped earlier that morning. 'Isa just called me, telling me she would be home late and that I had to eat something, so…. Melon it is.'
'Enjoy,' Becky giggled at her father, and then looked back to the food she was preparing. Was it supposed to be this wet, still?
'You too,' Ken said gently before retreating out of the kitchen and disappearing upstairs.
Becky couldn't help but grin after him. She was so happy her and her father had been mending their relationship. It was so much better —so much more fun— to put the effort into getting along with him.
This didn't seem right….
The pasta was almost ready, but the milk was still very… not like in the video.
Maybe she just needed to add the cheese?
She added it; but after a while realised it wasn't helping.
Everything was just… liquid.
She cooked it for at least ten minutes more than what was recommended before realising that it wasn't going to thicken….
She gave a heavy sigh and turned off the stove.
'I really cocked that up, didn't I?' she said to herself. Then she giggled. 'Heheh. Cock. Hmm….'
What was she supposed to do with this messed up mac and cheese?
She couldn't put it in the bin. It was mostly liquid and if the bag ripped it would go everywhere.
And she couldn't pour it down the sink; it was cheese and milk and chunky pasta. It could really mess up the pipes….
And it was too hot to go in the fridge….
'Uh… maybe I'll… just…' Becky picked up the pot and moved it to the far burner at the very back of the stove. 'Leave it here until Isa gets back….'
She was still really hungry, though….
'Hmm…. What else is there to cook?' Becky said aloud to herself, looking through the cupboards. 'Easier than mac and cheese…. Ooh! Rice!'
Rice was easy, wasn't it?
Jareth had made it for her like, a hundred times! And all it involved was adding water and rice to a pot!
Becky got out one of the other pots, and opened the bag of rice….
Why was the rice so hard?
Was rice meant to be hard before it was cooked?
She realised she'd never actually touched uncooked rice before and….
Oooh…. Oh that felt nice.
She stuck her entire hand in the bag of rice, and let the cool, hard rice run through her fingers.
It was like sand, but not grainy and gross!
Focus!
Becky shook her head, removing her arm from the bag and scooping a cup of rice to add to the pot.
Easy first step.
Now she just had to add some water! And she wasn't going to make the same mistake she did with the pasta! She would add less liquid to this.
Half a cup!
She smiled to herself, proudly, and turned on the stove.
Then she paused.
How long were you meant to cook rice for?
'Well… pasta only takes ten minutes, right?' Becky said to herself, setting a timer on her phone. 'So… ten minutes?'
By the time her timer went off, it was clear to Becky she had done something very, very wrong.
The rice was crunchy, still. Even though all the water was gone. And the bottom of it was burnt to the pot.
She'd messed up rice!
And she was too scared to scrape it off the bottom of the pot, in case she damaged Isa's good cookware!
'Damn it!' Becky cursed, putting the failed rice next to the failed mac and cheese. 'Okay. Okay. What's quick and easy? Easier than rice? Uh-pah-pah….'
Becky looked around the kitchen, her eyes trailing all of Isa's equipment, before she saw the toaster.
'HAH!'
There was no way she could mess up toast!
Becky grabbed some bread, and put it in the toaster.
And then she waited.
And waited.
And then when the toast finally popped out —as black as coal— she let out a defeated cry and crumpled to the floor.
That was it!
That was the last straw!
She was finally broken!
The food had won!
'Useless!' she yelled at herself, pressing her face into the kitchen tiles as tears welled in her eyes. 'You're useless! You're a stupid, useless bimbo and you can't do anything right! You're dumb! And stupid! And useless!' Becky bashed her fist into the tiles and felt herself begin to sob. 'You're going to die alone in a hole in the woods, you useless whore! You! Useless! WHORE!'
'B…. Baby? Are you alright? What's wrong?'
Becky gasped and sat up; looking across the room to see her boyfriend standing by the door. 'J-Jareth?! I— I— Uh….'
Jareth looked around the room. His eyes moved from Becky, to the burnt toast, to the two pots of failed food, before falling back on Becky.
Becky quickly wiped her eyes and tried to compose herself.
This was such a stupid thing to cry over— She couldn't let Jareth see her like this!
'I-I-I-I wa-was j-just—' she could barely get the words out. 'I-I was trying to— I was trying to—'
Jareth made his way over to Becky and sat down beside her; taking her hand as he did and pulling her close.
'It's alright, baby girl,' he said, softly. 'Come here…. Tell me everything.'
'I was just hungry,' Becky whined, burying her face into Jareth's chest. 'I thought I could make something! I even looked up how to do it online, but I got everything wrong. I tried to make mac and cheese, but it was all runny! And then I tried to make rice, but it was crunchy! And then— Then— Then the toast—' she cut off in a hideous sob that was so violent it made her gasp for air. 'The toast, Jareth! Toast is supposed to be easy! All you have to do is push a button!'
'Aw, Becky,' Jareth breathed into her hair. 'It's okay. It just sounds like the toaster was on too high a setting.'
'Toasters— Have— Settings?!' Becky sobbed.
'Yeah,' Jareth answered, simply. 'Yeah… they do….'
'I didn't know that!' she cried, her voice breaking.
'It's okay,' Jareth comforted, running a hand over Becky's back. 'Shh…. It's okay.'
Becky felt herself starting to calm down and, after a few minutes, she was able to sniff back the last of her tears. She let Jareth hold her for a moment, until her breathing evened out and she was able to stop crying. Then she pulled away and sat up.
'Alright…. You feeling better?' Jareth asked.
'Yeah,' Becky nodded. 'Sorry. That was a really dumb thing to cry about….'
'No,' Jareth reassured her. 'No it wasn't. You've had a hard month. That's all. It's okay to cry.'
Becky gave another nod, and wiped her eyes again. 'Mmm…. Why…. What are you doing here?'
'I was trying to surprise you,' Jareth let out a half-hearted chuckle and reached into his jacket's pocket. 'I uh…. I got you this.'
Becky gave one last sniff as a small, rabbit-shaped plush toy was placed carefully into her lap. 'I love it,' she squeaked, in a voice so pitiful it almost made her burst into tears again.
'I thought you would,' Jareth said, brushing a stray hair from Becky's face. 'You alright?'
'You sure?'
'You need some help cleaning up?'
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Science Club 6:00 pm
On the first Thursday of each month, Lebanon Public Library is facilitating a Science Club for students in 1st-5th grade. This month's theme: Snow We will be learning all about cold weather! Create a snowstorm[...]
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Home School Game Day
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The Library is hosting a monthly board game group for homeschoolers one Friday a month. Parents and children can come and use our wide selection of board games, tabletop games, and card games. Children are[...]
Homework Club 4:00 pm
Welcome to Lebanon Library's Homework Club! Do you sometimes struggle with homework? Well, you're definitely not alone! Every student does, at some point or another. That's why the Library is offering a free Homework Club,[...]


Sometimes it seems as though there are two kinds of runners in the world.
One look at the definition of "jogging" on Wikipedia should make clear why I advise people against jogging. Jogging is like running, only at slower speeds and with worse form. You might not be ready to run fast, but bad form is sure to produce chronic running-related injury.
Instead of jogging, you should practice running from the very first moment you pick up the sport. Don't adopt the silly postures of a jogger, just put your shoes on and go. You probably won't have perfect form when you start out, but at least you'll be on a path toward better form. Jogging, by contrast, forces you to condition yourself to bad form. Don't do it.
Also, don't run/walk. Walk/running was invented to help people cross a finish line when it was unlikely that they had the physical conditioning to finish the race the ordinary way. That in and of itself should raise a red flag in your mind: If you're not in good enough physical shape to complete a test of running ability, then you shouldn't take that test in the first place!
The reason why walk/running doesn't work is because it teaches you how to stop when you're tired, instead of continuing on. If you want to run a mile, but you get tired and have to stop running every other block, why would it make sense to develop a training strategy in which you stop every other block? No, the key to running the full distance is gradually increasing the distance over which you can run without stopping.
So, instead of walk/running, I recommend simply starting with something easy and do-able, like 3 minutes of running, and then spending the rest of your workout walking. The next day, do 4 minutes of running, and then walk the rest of the way. Then 5 minutes of running, then 6, and so on. In as little as 30 days, you'll go from nothing to being able to run a full 30-minute workout. Much better.
If you've never done much cardiovascular conditioning before, then your lungs are going to burn when you first start running. As you improve, the burning will go away right up to the point where you start running faster, and then it will come back. Breathing hard and pushing yourself makes your lungs burn. That's just what it does. Your heart will pound in your chest. This is not always a pleasant sensation. Sometimes it, too, hurts. As you become a better runner, the pounding will lessen for the same level of activity, but as you push yourself harder, so, too, will your heart beat harder. This is the nature of cardiovascular exercise. Accept it.
But running also works out several muscle groups, and if you haven't worked those muscle groups out recently, then your muscles are going to be sore later on. That's because working out your muscles involves literally tearing them down and causing your body to rebuild them in a better way. Tearing your muscles down hurts. It just does. It burns initially, as your legs are filled with acid, and then it aches later on as your muscles try to recover. But this is exercise – it comes with the territory. Drink a big glass of water and put your big-kid pants on.
And finally, in some rare cases, some people just haven't figured out how to put one foot in front of the other without a jarring impact with each foot's landing. This is a form problem, caused by that person's erroneously engaging in jogging as opposed to running. See above.
Now that we've been through a brief recap of my philosophy toward taking on the sport of running, I'd like to discuss a pattern I seem to have noticed among people who run.
Some runners enjoy the process of throwing themselves into a new running challenge. For example, on one of my running routes, I get to run over a big, long, steep downhill portion. This is a lot of fun because I get to run very fast with minimal effort. If I run the same route in reverse, I'll have to run up that same hill, which is obviously much more difficult. Some of us look at a challenge like that and think, "That's going to be really, really hard… THAT'S AWESOME!" Another group of us would refuse to even consider running up a big hill unless they absolutely had to, and they'd hate doing it every step of the way.
When I was a young runner, my friends and I used to like to challenge each other to seemingly ridiculous running-related tasks. We'd take our most-hated workout and encourage each other to do it twice in a row. We'd carry each other up staircases while running. We'd make a joke of extending our workouts 50%, 75%, 100%. When some of us would cut through corners when turning on city streets, the others would shout, "You're only cheating yourselves!" In short, anything that made running more difficult, and more painful, and more of a workout was something that we took on eagerly, with a laugh.
It shouldn't surprise you to learn that we who did this ended up being the faster runners; nor should it surprise you to learn that those of us who approached running this way are still running a lot in our thirties and haven't put on a lot of excess weight. Those who spent their time mainly avoiding hard work and socializing-while-jogging have ultimately not stuck with running in the long term, and were never really good at it to begin with. One has to wonder whether they ever even enjoyed it.
It's tempting to say that only one of these two groups is "the group of real runners," but that isn't true. Anyone who runs is a runner. The reason I choose to delineate between the two groups is because their disposition toward running is wildly different. When you read HuffPo articles about walk/jogging, you're reading an article that is intended for people who have to plead and bargain with themselves in order to run. They're articles for people who have a low tolerance for pain and adversity (at least as far as running goes), and who are not innately driven to challenge themselves on their own.
Such HuffPo articles might be a great benefit to that group of people, but it's important to remember that there is another group of runners out there. That other group is comprised of the people who enjoy making their runs extra-long, or extra-difficult, or extra-painful simply because the challenge appeals to them. They're the ones who always talk about endorphins, and about how much they love running.
So, if you're a member of the "easy does it" group, and you're imagining that one day you'll morph into the other kind of person, then my advice to you is to adopt the strategies and proclivities of that group. If you find you enjoy it, you'll stick with it. But it's equally likely that you won't end up being one of those crazy-runner-types, and if so, you may as well admit that to yourself. It'll make you happier.


Make it a rule of life never to regret and never to look back. Regret is an appalling waste of energy; you can't build on it; it's only for wallowing in.
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The Sydney Harris one is one I understand more now with age/health issues I am glad I did do (sometimes impulsively) stuff I did as younger so I am not feeling regretful. There are times I wish I had done more but, at least, I did try (& at times fail). Big Smiles for the day.
HI stopping by to give you HUGS and say hello. Hope your week is a good one .. take care : )Thanks for visiting me!
Piggy Playhouse :I regret not tormenting fleshies and skin bags sooner than I did.


Nov 1, 2006 such repair, modification of alteration is authorized in writing by ASUS; or (2) the serial number of the product is defaced or missing. View and Download Asus P5N-D - Motherboard - ATX user manual online. User Manual. P5N-D - Motherboard - ATX Motherboard pdf manual download. Email Us Find service locations. Hot Link. Download Windows 10. Knowledge Search. Search. Microsoft Support. Support main page Microsoft Community. View and Download Asus P5N-E SLI user manual online. P5N-E SLI English Edition User's Manual. P5N-E SLI Motherboard pdf manual download.
Ensure that you download and update to the latest BIOS at www.asus.com and purchase the memory modules listed in the ASUS official memory Qualified. The P5N-D is a NVIDIA® 750i SLI chipset-based motherboard that combines powerful performance with great energy efficiency; and supports NVIDIA® SLI. ASUS Motherboard's fansless concept is specifically created to provide a cool ASUS Q-Fan2 technology intelligently adjusts both CPU fan and chassis fan. ASUS adopts Conductive Polymer Aluminum Solid Capacitors for CPU VRM to ensure ASUS motherboards now enable users to enjoy this protection feature.


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Emila fou bisbe de Barcelona, successor d'Ugne i visigot com ell, consta la seva signatura en el decret del rei Gundemar de l'any 610, en què diversos bisbes concorregueren a Toledo de totes les províncies eclesiàstiques del Regne Visigot de Toledo, per a celebrar l'exaltació de Gundemar al tron. En aquest document el rei també donà suport a la unificació d'una sola metròpoli eclesiàstica per a tota la Cartaginense, fent de l'arquebisbe de Toledo el primat de tota la Cartaginense. L'any dotzè del regnat de Recared (598) hi hagué un concili a Osca, al que assistí Emila, del que no fructificà cap acord ferm, reunint-se a Ègara anys més tard, on si s'assolí un cert consens sobre la moral de preveres i clergues l'any tercer del regnat de Sisebut el 13 de gener de 615. A aquest concili egarenc concorregueren el metropolità Eusebi de Tarragona, onze bisbes i dos vicaris representant bisbes absents. El quart bisbe signatari fou Emila. Diago i Jeroni Pujades col·loquen entre Emila i Ugne un tal Borrell, tanmateix improbable i desautoritzat per Flórez per tractar-se aquest un nom d'origen franc totalment extemporani. Es desconeix la data de la mort d'Emila, posterior, evidentment, l'any 615, data del concili d'Ègara.

Bibliografia

Bisbes de Barcelona
Visigots

redpajama_set_name: RedPajamaWikipedia


The BLDRS Developed Markets 100 ADR Index Fund fund is an exchange traded fund (ETF) within the PowerShares family. There are 8 other funds we track which provide a return similar to ADRD.
Within the PowerShares family of funds, the most positively correlated other funds are BLDRS Europe Select ADR Index Fund, FTSE RAFI Developed Markets ex-U.S. Portfolio, BLDRS Asia 50 ADR Index Fund, Global Water Portfolio, DWA Developed Markets Momentum Portfolio.
Outside of the PowerShares family, the most positively correlated other funds are iShares - Europe ETF, iShares - MSCI EAFE ETF, Schwab - International Multi-Cap Core, Vanguard Mutual Funds - European Stock Index Admiral Shares, Fidelity - Spartan International Index Fund - Investor Class .
There are multiple other funds which have extremely high correlation to PowerShares's BLDRS Developed Markets 100 ADR Index Fund fund.


Premier Utility Services (Premier) is a division of Willbros Group, Inc., (NYSE: WG) a specialty energy infrastructure contractor serving the oil, gas, refinery, petrochemical and power industries.
Premier provides damage prevention services which include underground utility locating, gas leak surveys, electrical services, contact voltage surveys, pole surveys and inspections, emergency management, storm assessment, sign assessment, along with quality assurance audits and operator qualification training. Real-time updates on its secure, online database allow visibility for all client projects. The Company's call center is available 24/7 to guarantee project success and client satisfaction.
When Premier was acquired by Willbros, the Company's IT management team was working with Microsoft Exchange. However, the system was not scalable enough to meet the needs of the quickly growing entity. Significant stability and reliability issues started causing business disruptions, so the Company's technical staff began to investigate alternative platforms that could provide more reliability. Marc Makely, President of Premier, suggested the Company move to Google Apps.
Premier was already working with Google Geo (mapping) tools, and Makely believed in the cloud and in Google's powerful solutions.
Premier's IT team engaged Agosto to help them work through a well-defined project and technical plan. Agosto migrated Premier's mobile field workforce and corporate users across 22 states from Exchange 2010 to Google Apps. Additionally, Premier now has an email archiving and eDiscovery solution in Google Apps Vault.
Premier is working well together and the team is finding new ways to improve business using Google Apps. Makely and Jason Cradit, Director of Information Solutions at Willbros, and Chris Bartlett, IT Manager at Premier, shared the story.
The Health and Safety team at Premier is excited about the use of Google Docs which allows for a step-change in live collaboration. Additionally, the field teams are working more productively because they can now securely communicate with other colleagues in real-time using any device, from anywhere. Premier also collects a tremendous amount of field data for their utility company clients. Cradit is excited the Company has started to use Google Sites (included with Google Apps) and inexpensive Android devices to almost immediately show clients their information.
"Our customers are highly regulated and required to take action on situations in the field promptly," said Cradit. "We can provide them with map visualizations and actionable information so much more quickly than ever before, using equipment that's not cost-prohibitive and tools that are easy to use. That means Premier is more efficient and our customers are more able to act quickly on their data. We find new uses for the platform all the time".
Premier's return on investment is already paying off.


Netflix Inc. (Nasdaq: NFLX) stock is a bargain right now, though it may not look like one.
That's why investors have been selling Netflix stock over the past week, knocking shares down from an all-time high of $489.29 hit on Sept. 9 to the $450 range today (Tuesday).
It's easy to see why many people think Netflix stock is overheating.
Shares of the streaming video company are up more than 23% on the year, even after the recent pullback. In the past 12 months, NFLX stock is up more than 50%.
And then there's the price/earnings ratio (P/E), which is about 137, far above the overall S&P 500 P/E of just under 20.
Add in the general jitters about a possible stock market correction, and it's no wonder Netflix stock has slipped from its highs.
These are all legitimate concerns, but they are all trumped by the Los Gatos, Calif.-based company's extraordinary potential.
Let's start by looking at Netflix' performance in its most recent quarter.
Profits were up an impressive 141% from the same period a year earlier, and revenue was up 25.3%.
Meanwhile, the company continued to grow its customer base, reaching the 50 million subscriber milestone.
On Monday Netflix announced it will expand into six European countries, including France, Germany, Switzerland, Austria, and Belgium, over the next year.
"This is the biggest international launch we've ever done. It represents nearly 80 million broadband households and about 200 million people," Netflix Chief Executive Officer Reed Hastings told the Financial Times.
That's a lot of potential new customers. Research firm IHS Technology estimates that the addition of the six new European countries alone will result in 5 million to 6 million new Netflix subscribers by 2018.
Now, critics point out that the ongoing international expansion is costly. In fact, the international division of Netflix has been showing a loss.
But this rate of investment will slow over time, which will turn those losses into gains that will be accelerated by the growth in the subscriber base, which is expected to reach about 45.8 million by 2018.
"International subscriber growth is the most important variable driving stock performance for the foreseeable future," Morgan Stanley analyst Benjamin Swinburne said in a research note.
And those numbers don't count an eventual expansion into Asia, although Hastings has said the company views such nations as Korea and Japan as "great opportunities."
Meanwhile, Netflix expects its U.S. subscriber base to grow from about 36 million now to 54 million by 2018.
That means Netflix will roughly double its subscribers by 2018 to 100 million. And with investment costs declining over that period, earnings per share will more than double.
"We continue to believe that Netflix has achieved a level of sustainable scale, growth and profitability that isn't currently factored into its stock price," RBC Capital markets analyst Mark Mahaney told Investor's Business Daily.
Plus, as Netflix's international footprint grows, it will have more leverage in striking global licensing deals for content, which will also help the bottom line.
As the Netflix business model accelerates earnings over the next few years, the NFLX stock price will follow.


text:
"La terre est ronde" is a song by French rapper Orelsan and produced by Frédéric "Fred" Savio. It was released on December 24, 2011 as the fifth single from his second studio album Le chant des sirènes. The single peaked at number 9 on the French (SNEP) Singles Chart and was nominated for "Best Song" at the 2013 Trace Urban Music Awards.

Music video
Directed by Clément Cotentin, Orelsan's brother, the song's music video shows Orelsan and his co-musicians getting prepared for a live show, then performing live. the video ends with presentation of the band members to the public. It was made available on 28 December 2011 through his YouTube account and is longer than the record release at 4 minutes and 13 seconds.

Track list
 Digital download
 "La terre est ronde" – 3:39

 CD single
 "La terre est ronde" – 3:39

Charts

References

2011 singles
Orelsan songs
French-language songs
2011 songs
7th Magnitude singles
Songs written by Orelsan


text:
Judge's brother-in-law's case kept getting postponed
By JULIE DAFFERN
Published: Tuesday, November 30, 2010 1:45 AM CST
A local businessman and Laredo City Council candidate's delinquent tax case was delayed for two years in the district court where his brother-in-law presides.
49th District Court Judge Joe Lopez said he didn't realize that his brother-in law, Alejandro Perez Jr., had a case in his court until three months ago.
I don't know what irks me more: a candidate that doesn't show up for debates or a judge that pleads ignorance.
This election season didn't bring us much in terms of controversy. Oh sure, we had Mayor Salinas being criticized for his response to the flooding in Los Martinez Dr. We had Gene Belmares being accused of using his influence to control traffic around San Agustin Plaza. We had Gene Belmares being accused of spending money too hastily in developing his crown jewel, North Central Park. We had Gene Belmares get defensive when questioned about his education background and El Portal. But all that didn't rise to the level of corruption; all we found out is that we have some poor choices for mayor.
However, here we have a new development that reeks of favoritism. We have a city council candidate that has fallen behind on rental property taxes. Not earth-shattering news since this is something that happens all the time. What is interesting is that this goes back a couple of years and the person responsible for overseeing the case is related to him.
A petition was originally filed by the City of Laredo on July 30, 2008.
Eventually it was set to be settled in court.
The case was set for trial several times in 2009, according to court documents, but wasn't called.
Enter a different judge.
The case wasn't heard until Sept. 9, 2009, when Judge Elma Teresa Salinas Ender sat in for Lopez.
A motion was filed by the plaintiffs to set a new trial date. From that time to the present, the Perezes paid their overdue taxes. Their final payment was just received by one of the local taxing entities recently.
It's not what one would call flattering news for somebody who is running for office.
Judge Lopez helps to explain his side of the story by saying that he couldn't have known about this case, and his relation to it, since hundreds of cases are filed on a regular basis. And he sets cases aside sometimes without knowing who, or what, it involves; he's just signing papers at will. Reassuring.
This might not mean a whole lot in the end but it is way too convenient how everything came to be resolved.