Our Double Knit Blanket is, indeed, double knit! Double knitting is a simple way to create two layers of stockinette fabric at once by slipping every other stitch as you alternate yarn colors each row. The result? One yarn on one side and another on the other… Needle magic!
What's more, we took a page from the quilting books and threw in tiny tacks (created while you knit!), critical little details that truly set this blanket apart.
One of the opportunities our Double Knit Blanket gives us is to explore our favorite stew: the one where we throw rustic and refined into the very same pot. And so, one side is our undyed Good Wool, a straight-from-nature rugged beauty, while the other is our sumptuous Mulberry Merino with its subtle shine and smooth finish… Great flavors together!
To make a baby-size blanket in these two yarns, you'll just need one of our Double Knit Blanket Bundles. Each one includes Good Wool's Driftwood Gray for one side, and then choose from four different Mulberry Merino colors for the other (this one is gorgeous Persimmon Orange). Want to make it a throw? We tell how many skeins and cast-on stitches to add!
Apart from its two-sided fun, our Double Knit Blanket's two layers give it a seriously decadent drape and warmth… an heirloom knit for a new baby or an old friend or even yourself!
We love the original version of our Double Knit Blanket so much that we decided to update our Bundle options with the newest colors of Mulberry Merino! Our Double Knit Blanket Bundle is now available in twelve beautiful color combos!
Slip all slipped stitches purlwise unless indicated in the pattern.
"Turning the work" means to do what you would normally do when knitting rows with circular needles: Transfer the needle from your left hand into your right and the needle from your right hand into your left, and flip the work around so the opposite side is facing you.
"Sliding the work" means to keep the same side of the work facing you and to push all the stitches to the right end of the circular needles. Without turning the work, start the new row as you normally would.
You will know that you're doing this right if the yarn you need to work the next row is magically there waiting for you!
To adjust the width of the project, cast on a multiple of 10 + 7 stitches, then double it.
NOTE: We used a Long Tail Tubular Cast On, omitting the foundation rows, because it is the perfect edge for double knitting. A basic Long Tail Cast On would also do, but make sure to use a smaller needle to cast on!
With Yarn A and the larger needles, cast on 294 (414) stitches.
Set-Up Row 1 (wrong side): Turn work (see Notes) and with Yarn A,*k1, slip 1 with yarn in front (wyif), repeat from * to end of row.
Set-Up Row 2 (right side): Turn work and with Yarn B, *k1, slip 1 wyif, repeat from * to end of row.
Row 1 (right side): Slide work (see Notes) and with Yarn A, *slip 1 with yarn in back (wyib), p1, repeat from * to end of row.
Row 2 (wrong side): Turn work and with Yarn B, *slip 1 wyib, p1, repeat from * to end of row.
Row 3 (wrong side): Slide work and with Yarn A, *k1, slip 1 wyif, repeat from * to end of row.
Row 4 (right side): Turn work and with Yarn B, *k1, slip 1 wyif, repeat from * to end of row.
Repeat Rows 1-4 for a total of 1 inch, ending with Row 4.
Row 1 (right side): Slide work and with Yarn A, [slip 1 wyib, p1] 3 times, *slip 1 wyif, p1, [slip 1 wyib, p1] 9 times, repeat from * to last 8 stitches, slip 1 wyif, p1, [slip 1 wyib, p1] 3 times.
Row 2 (wrong side): Turn work and with Yarn B, [slip 1 wyib, p1] 3 times, *slip 1 wyif, p1, [slip 1 wyib, p1] 9 times, repeat from * to last 8 stitches, slip 1 wyif, p1, [slip 1 wyib, p1] 3 times.
Repeat Rows 1-4 of Begin Double Knitting section until piece measures 1 inch from the previous tack down row, ending with Row 4.
Row 1 (right side): Slide work and with Yarn A, [slip 1 wyib, p1] 8 times, *slip 1 wyif, p1, [slip 1 wyib, p1] 9 times, repeat from * to last 18 stitches, slip 1 wyif, p1, [slip 1 wyib, p1] 8 times.
Row 2 (wrong side): Turn work and with Yarn B, [slip 1 wyib, p1] 8 times, *slip 1 wyif, p1, [slip 1 wyib, p1] 9 times, repeat from * to last 18 stitches, slip 1 wyif, p1, [slip 1 wyib, p1] 8 times.
Repeat from Row 1 of Begin Double Knitting section to Row 4 of Stagger Tack Down section until piece measures 37 (49) inches from cast-on edge, ending with Row 4 of Stagger Tack Down section.
Repeat Rows 1-4 of Begin Double Knitting section for 1 more inch, until piece measures 38 (50) inches from cast-on edge, ending with Row 4.
Set-Up Row 1 (right side): Slide work and with Yarn A, *k1, slip 1 wyif, repeat from * to end of row.
Set-Up Row 2 (wrong side): Turn work and with Yarn A, *k1, slip 1 wyif, repeat from * to end of row.
Alternating between needles, slip all the knit stitches onto the working circular needles and all the purl stitches onto spare circular needles.
Slide work and with right side facing you, use Yarn A to bind off in Kitchener Stitch.
With Yarn A and the right side facing you, bind off using a 3-Needle Bind Off.
Love this pattern and just finished knitting the whole blanket. My only disappointment is with the way the side edges look . Since I have already finished the whole blanket, I need a finishing technique to hide all the unevenness and booboos along the side edges. Can you please make a suggestion for neatining up the sides and joining the front and back? I was just sloppy about carrying the yarn and it shows. I was thinking of a blanket stitch, but I really want to hide the uneven parts of the side edges. Any suggestions will be most appreciated! Thank you.
Thank you for reaching out and congratulations on being done with your new blanket! If you are interested in covering up the whole edge I would suggest adding an attached I-cord border. We use this method on lots of our blankets and it gives you a clean polished look.
How woulkd you attach the I-Cord after already finished the blanket? I love this idea!
Thanks for reaching out! The link Marilla included above leads to a tutorial on creating an applied I-Cord to finish the edge of your blanket.
I am doing a "test piece" before I start the blanket and my side edges are also uneven (messy). Is there a way to avoid this and make my edges look like yours?
Thank you for reaching out! Is the main issue that the selvedge is loose, or does there seem to be something else going on as well? I would make sure that you are carrying your yarn up in back when switching colors and try your best to keep consistent tension. Blocking can also help neaten your edges, our sample was blocked. When you are finished with your swatch I would tray blocking it and seeing if that eliminates the issue.
I figured out that the cast on I used didn't work exactly with you instructions. I was able to skip set up row 2 and go to row 1. I find this way of doing double knitting much easier than knitting and purling with both yarns at one time. However, I can't figure out how to use your method and make patterns in the knitting. Does it only work for a solid color on each side? Thank you.
Thanks for reaching out! You absolutely can work charts or color patterns using this method of Double Knitting! We just released our Verse + Reverse Scarf and a video tutorial on our method which may be just what you are looking for!
Hi! I want to apply this technique to your toque pattern for a basic rolled edge toque.
I'm a slightly past beginner knitter, but would I just cast on the number of stitches I would need for the toque, then follow the same 4 row repeat as described above?
I also cannot wait to make this blanket! It's my new winter project!
Thanks for reaching out! Unfortunately, I think your hat idea might be a bit complicated. Double knitting does not roll, which is not necessarily a bad thing, but you will not have a rolled edge on your hat. This stitch pattern only works when knitted flat, and double knitting can be challenging to seam nicely. Although we do not have instructions for working double knitting in the round, you may want to search "Double knitting in the round" to find instructions that you can use for a hat. You will also have to look up how to work decreases in double knitting, since both layers have to be decreased at the same time.
This is quite a few techniques to learn and adapt, so if you are still new to knitting, I would recommend knitting a few plain hats and some simple double knitting, such as our blanket, first to get the hang of things, but when you are ready, a double knit toque would be lovely!
Hi! I have just received my kit for this pattern and am so excited to start. This is a really silly question- for the long tail tubular cast on, are you casting on with two strands of yarn at the same time or are you splitting the colors and treating one color as the strand that you hold over your forefinger and the other color as the one that you hold over your thumb?
Great question! We worked the Long Tail Tubular Cast On and set up rows with color A only – if you look closely at the pictures, you can see that the cast on edge has a concentrated band of color A on both sides of the blanket. It is possible to work a two color tubular cast on if you wish for a totally "edgeless" edge!
Is it necessary to knit a row before going to the first set-up row? Otherwise, it seems like you'd be knitting backwards since no stitches have been knit. A quick tutorial on the set-up row would be great, if possible.
Beautiful, beautiful pattern – thank you!
Thanks for reaching out! Unfortunately we don't have the resources at the moment to do a video tutorial of this; however, you should be able to go directly from the cast on to the first set-up row. You may be getting confused by the instruction at the beginning of the first set-up row to turn your work, since, if you have used a cable cast on instead of a long tail cast on, you will not need to turn your work to begin knitting the first row. Either way, you will simply begin this first set-up row by knitting in the same direction you normally would after completing the cast on.
This is, of course, beautiful. Do you think this could work with Woolfolk Far & Sno respectively or Far only?
Unfortunately, although I too am a huge fan of Woolfolk yarns, Far is a bit too heavy weight for this pattern as written, and Sno is a bit thin. I wouldn't suggest using the two together as there would be a large discrepancy between the two weights, but if you don't mind a larger blanket, Far would work wonderfully on a US 9 needle!
Thanks, Julianna! I figured out the set-up rows about ten seconds after sending the email. I'm going to go for the Far on a – thanks again. Really appreciate it.
Love this blanket and can't wait to start. Could you explain how to make a bigger size? I bought the recommended additional skeins but am wondering if cast on number changes or am I just doing more rows? I'm sorry if I didn't understand the instructions in the pattern. Thank you for spelling it out for me!
Thank you for reaching out! For the throw size you will be casting on 414 stitches and you will knit until your blanket measure 49 inches.
I have a question regarding row 1 for the tracking down section. The instructions call for repeating (slip 1 wyif,P1) 9 times to last 8 stitches. The instructions after that state (slip 1 wyif, P1) 3 times. Does that not result in 2 stitches remaining? Sorry I'm still very new to knitting and I am unfamiliar with reading patterns still. Thank you!
Thank you for reaching out- I can help! After repeating (slip 1 wyif,P1) 9 times to last 8 stitches the pattern actually states "slip 1 wyif, p1, [slip 1 wyib, p1] 3 times" totaling 8 stitches.
I think I must have missed something. I'm maybe half way through the pattern now so no turning back now…my vertical edges aren't connected. Is that how it's supposed to be? What can I do to seal them? Thanks!
Thank you for writing! I think that what could be going wrong is that you are not carrying your old yarn up the selvedge when changing colors. When changing colors you will carry the new yarn up the selvedge in back of the old yarn, this will connect the front and back of the blanket at each point that you change colors. If you do not do this you will have a front and back completely disconnected from one another. This is a surprisingly tricky part of the pattern, but is explained in our video tutorial.
If you are far along on your blanket, and don't want to rip out, you could begin carrying your yarn up now and seem the rest of the project. I hope this all makes sense and let us know if you have any further questions!
Thanks Marilla! Yes seems I didn't carry up =( . I have since done a few rows the right way and see it does close it up nicely. =) Should have read it more carefully! Thank you! Can't wait to finish it for my daughter!
My question is regarding the gauge. I've been trying to reach your gauge of 21 sts = 4″ and end up with 21 = 3.5″. Even if I knit as loose as I can, I only get 21 = 3.5. I can get the gauge by knitting 26 sts = 4″. So, my question is should I just follow my gauge and in doing that, will I need more yarn? I purchased the kit for the throw, so I already have the extra skeins. Any help you can give me is much appreciated. I'm anxious to get knitting! Thanks. This is a gorgeous blanket.
Thanks for reaching out and for the kind words! Are you working your gauge swatch in double knitting, and how many stitches are you casting on for your gauge? Double knitting turns out much looser than regular stockinette stitch, even when worked on the same needle size, so if you have done your swatch in ordinary stockinette using just one of the yarns, I would definitely try it again in double knitting. It may also make a difference that the Good Wool is somewhat thicker than the Mulberry Merino, so using both yarns in the double knit swatch will affect the overall gauge.
Also, whenever you are knitting a gauge swatch, you will get a more accurate measurement by casting on more stitches than the four inch gauge and measuring the center four inches. Any stitch, but especially double knitting, gets distorted on the edges, so including the 3 or 4 stitches on the selvedge will give you an inaccurate gauge measurement. I would recommend casting on 27 to 30 stitches and working for at least 3 or 4 inches in double knitting before measuring the center four inches of your swatch to see if it turns out closer to our gauge.
Thank you for responding. I have been knitting my swatch in double knit, casting on 26 st. I started with size 6 needles, switched to #7, and still ended up with ~3.75 inches. I've also gotten different results using the two different yarns and knitting two swatches in double knit. I'm now going to follow your sage advice and knit a larger swatch , starting with #6 needles and go from there. If my only solution is to swap out the Good Wool Driftwood grey and replace it with a Mulberry Merino similar color. Now to knit a new swatch!
Firstly, my comment re "your sage advice" was meant as a complement. I've never thought about doing a large stitch count to get a more accurate gauge. Ergo, I thought it was brilliant! So, I knit swatches in both yarns. I started out with #6 needles, 30 sts, and still didn't get 4″. So I went up to #7, knit both yarns into two swatches and achieved a 4″ width. All 30 sts, So, now I'm thinking I need to recalculate yards needed to finally get to the knitting of this beautiful throw. I do need help with that. Is that the right direction to go?
Hmm, it sounds like you are a tight knitter indeed! You could continue to go up needle sizes to see if you can get the correct gauge if you wish, but if you are happy with the hand of the fabric at 30 stitches to 4 inches, you will need to cast on 594 stitches for the throw size. Good Wool has quite a bit of yardage so I think you will be fine with just one extra skein, but I would purchase two extra Mulberry Merino to be on the safe side, for a total of 5 Good Wool and 8 Mulberry Merino. For both yarns, just in case it turns out you don't need quite that much, any unused skeins can be returned for store credit as long as they are unwound.
I'm having trouble understanding the tack down row instructions because I feel like my tack downs are too close together compared to your picture of the blanket. When the instructions say: *slip 1 wyif, p1, [slip 1 wyib, p1] 9 times, repeat from *, am I supposed to do the slip 1 wyif, p1, immediately followed by the bracketed slip 1 wyib, p1 and then repeat these two steps across the rest of the row until the last 8 stitches? I think I'm getting confused by the "repeat 9 times," instead of just saying to last 8 stitches. I feel like I'm missing something and my tack downs are not spaced properly. Thank you.
Thanks for reaching out! Reading stitch patterns like this can be a bit confusing! Both brackets and asterisks indicate pattern repeats, and in situations like this where you have brackets within an asterisk marked section, you will be working a repeat within a repeat. In other words, for this pattern, you will slip 1 wyif, p1, then repeat the bracketed stitches, [slip 1 wyib, p1] 9 times, then go all the way back to the beginning. This should result in your tack down stitches, which are created by the slip 1 wyif, p1, being separated by 9 stitches.
Question: In the Cast On and Setup section, the directions for using the Long Tail Tubular Cast On say to omit the foundation rows. What are the foundation rows? Is this the same as the set up rows that follow in this section?
Thanks for reaching out! The Long Tail Tubular Cast On instructions include two foundation rows that are normally part of the cast on; however, for this pattern, you will skip those foundation rows and go directly to the Set Up rows in the pattern.
Hello – this blanket looks beautiful, though the color options for the Mulberry Merino are just not what I am seeking. I was wondering if you could recommend any other yarns to use in place of the Mulberry Merino that may have a wider color selection. I think I am after a deep ocher or mustard yellow or something in that color family.
Thanks for reaching out! I would recommend substituting either Anzula Cricket or Brooklyn Tweed Arbor for the Mulberry Merino – both come in a wide range of colors, and Arbor has several mustard tones that might be what you are looking for!
I just received the yarn for this blanket and can't wait to cast on! I ordered the persimmon Mulberry Merino and heirloom white Good Wool. Is the Mulberry color safe? Just wondering if I need to do anything with the orange before I start knitting.
Thanks for reaching out! We haven't had any complaints or experienced any color bleeding with Mulberry Merino ourselves, but it couldn't hurt to test it out a bit before beginning! If you are concerned, you could try rubbing a piece of white cloth on the skein to see if any color "crocks" or rubs off onto the cloth, or snipping off a small piece and soaking it in warm water to see if any dye bleeds into the water. It's also a good idea to wash the finished blanket with a Shout Color Catcher just to be on the safe side, but I don't think you should have any problems!
I've just finished a small swatch for this blanket – love the look, but my "tack downs' aren't as neat and clean as these! I've tried unsuccessfully to upload a picture, both here and Ravelry, which would help describe what i'm getting. My "tacks" aren't only a small line, they seem to include a bit of the underlying stitch, so they aren't very clean. I'm getting this on both right and wrong side! Any idea what I've done wrong? Many thanks!
I'm so sorry to hear you aren't happy with how your blanket is turning out! You can send us a picture by email at customerservice@purlsoho.com and we will be happy to take a look and hopefully figure out the problem.
hi! i'm jumping into this thread because i'm having the same issue with my tacks. i just finished the first round of tacks on each side. it looks like there is a "purl" showing/bleeding through from the bottom of the tack, in the same color as whatever tack i'm on. not sure if that makes sense. i can't figure out is this is a tension issue.
Thank you for reaching out! I'm sorry to hear your tacks are giving you grief. It is always tricky to know how to advise without seeing the blanket. My instinct is to agree that it could be a tensions issue. Your gauge might be loose which would cause everything to be a bit loose including the tacks. Is your gauge matching the reccomended 21 stitches and 30 rows per 4 inches in double knit stockinette stitch, using the larger needles?
I hope this helps and keep us posted!
Do I use both yarn A and yarn B when casting on? If not, how do I attach yarn B?
Great question! You will cast on with only Yarn A and work Set-Up Row 1 in Yarn A. You will then join Yarn B to work Set-Up Row 2.
I am getting close to needing to start a new ball of yarn, and started to think about weaving in. Usually I weave in on the reverse side, but there is no access to the reverse side. I'm guessing that in this case the stockinette weave-in would work best? Would I weave in one end in one direction and the other end in the other direction? I'm also thinking it may be important whether to start the yarn on a purl or knit row. Any suggestions? I read the "Weaving in Your Ends" tutorial.
This is a great question. I would reccomend using the duplicate stitch from the outside of the project for an inch or two, and then bury your ends by inserting your tapestry needle into the open space inside of the blanket, bringing it up a few inches away, and then trimming your yarn close to the surface so the end will pop back into the blanket and disappear. I would also suggest making sure your yarn tails are on the outside or right side of the blanket so they are easier to find when you are done.
Would it make any sense at all to make this blanket with the same colored yarn on each side? I like how it is stockinette on both sides and I have enough yarn to make the throw (4,000 yards) in one color.
I guess I just want to know if you think this would be a waste of time or if it would be worth the effort. I recognize that it may be more challenging in one color not being able to tell which yarn goes with which side.
Thanks for reaching out! I think this blanket would be lovely using the same color for both sides! Although you wouldn't get the little pops of color, it would still be a wonderfully thick and squishy double layered blanket, and the tack down rows would still add a bit of quilt-like texture. You are correct that it will be a bit trickier to keep track of your rows and stitches, but it would probably also be harder to spot errors in a single color blanket!
That will also magically turn into two sided fabric.
1) I'm new to double knitting. The more I try to figure out what you mean by the gauge, the more confused I get. Is it 21 sts per side = 4"? Meaning, that there are 42 loops on my needle (21 per side). Or, are you counting 21 sts for both A & B sides inclusive – or 10.5 sts per side? I did see your previous response to someone else recommending casting on extra sts to avoid miscounting the edges.
2) Could you pls recommend a lighter-weight pair of yarns? I'd love for the final result to be more drapey, like a wrap that Wouldn't be out of place on a cool summer night vs a lap blanket. But I love the idea of having a rougher side and a softer, more-refined side. I'm thinking to target a final dimension of ~30" x 72".
Thank you for reaching out! This can certainly be confusing with double knitting, but your gauge is going to work the same way it would with any other project. This means that you are counting how many stitches you are getting per inch on your knitted fabric. Both sides of your blanket should be getting 21 stitches per 4 inches. I hope this makes sense and let me know if you have any further questions regarding gauge.
To answer your second question, I think this is a lovely idea. If you decide experiment with this your gauge will be a very important tool. This is because if you use a thinner yarn your gauge will shrink. It will also take a bit of experimentation to get a texture you are happy with. I think that our Linen Quill and Line Weight could be a nice pairing. Once you decide on your yarn you will need to knit up a gauge swatch to figure out how many stitches per inch you are getting, Once you have these numbers you can use them to calculate a cast on number.
Thanks for reaching out! Yes, you could certainly use two strands of the same weight yarn for this blanket! Although our Mulberry Merino is a sport weight and Good Wool is a light worsted/heavy DK, they knit up to a very similar gauge, so if you are substituting yarns, I would recommending using two yarns that are the same or nearly the same weight and gauge.
Hi! My husband purchased me this kit in persimmon orange, and I'm wondering if I should pre-wash the orange since it's so high contrast with the good wool. Is this a recommended step so the orange doesn't bleed when I block it?
Thanks for reaching out! We haven't had any reports of Mulberry Merino bleeding, and we only recommend re-fixing dye for our hand dyed yarns such as Posy. Since Mulberry Merino is not hand-dyed, there is no need to take any extra steps!
I love the tack down! For those of you who are continental knitters it's relatively easy (after you get used to it) to hold both yarns together and "pick" the correct yarn for the k or p. I have tried the slipped stitch but it take so long (2 rows for every one). I'm definitely going to adopt the alternating tack down, thanks for the suggestion!
That's a really unusual way of double knitting – I'll bet it's leas confusing for people who don't wish to work with the two strands at the same time. Very clever. Thanks for the pattern.
love this pattern so much. i am going to attempt with some leftover bigger yarn i have. natural and gray. if i need to reduce pattern by half, how do i calculate total stitches to cast on? thank you so much!
Thanks for reaching out! To adjust the cast on for a thicker yarn, I would start by knitting a gauge swatch in pattern. You can then multiply your stitches per inch by 28 or your desired width, round to the nearest multiple of 10 plus 7 stitches, and double that number to determine how many stitches to cast on.


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Significant Variation of Expression and Splice Altering Variants Among Broad Classes of Major Psychiatric Disorders
The study authors investigated expressed genes and gene transcripts in the postmortem subgenual anterior cingulate cortex, a key component of limbic circuits linked to mental illness, in order to determine how gene expression in the brain is different across psychiatric illnesses.
Genetically associated brain transcriptome alterations may contribute to diagnostic variation among classes of mental illnesses, according to results published in Neuropsychopharmacology.
Researchers from the National Institute of Mental Health Intramural Research Program studied 200 postmortem brains for differential expression on the basis of schizophrenia (n=46), bipolar disorder (BD; n=39), major depressive disorder (MDD; n=54), or healthy controls (n=61).
Compared with controls, transcript-level alterations were greatest among schizophrenia (n=452), followed by BD (n=359), and MDD (n=283) samples. Differences of both genes and transcripts were observed for 21 genes compared with BD, 18 with schizophrenia, and 3 with BD samples. Gene-only differences were detected among 21 genes compared with BD, 5 with schizophrenia, and 4 with MDD.
Compared between patient groups, the greatest differences were observed between schizophrenia and BD (transcript only: n=442; gene only: n=49; gene and transcript: n=24), followed by schizophrenia and MDD (transcript only: n=281; gene only: n=6; gene and transcript: n=3) and BD compared with MDD (transcript only: n=262; gene only: n=3; gene and transcript: n=2).
Variation in loci which altered splicing were enriched among case-control (n=368; odds ratio [OR], 2.2; P <10-16) and case-case (n=335; OR, 2.5; P <10-16) comparisons. These splice-related variants were significantly enriched for their contribution to the heritability of schizophrenia (2.1; P =3.3E-5) and BD (1.7; P =.02) but were not enriched for MDD (1.2; P =.38).
The expression-related variants were observed to be significantly enriched for their contribution to heritability of schizophrenia (1.7; P =9E-5) but not for BD (1.3; P =.13) or MDD (0.8; P =.41). After correcting for splice variants, expression variants were no longer significantly enriched for the heritability of schizophrenia (1.16; P =.54).
Among rare variants (<100 mean count/sample), 269 had significant differential expression (<5% false discovery rate), indicating they may be functionally relevant. These variants were associated with synapse formation, cell junctions, and heterotrimeric G-protein complexes.
This study was limited by its low sample sizes and inherent difficulties of interpreting expression data derived from postmortem tissues which have risk for noise creating biases.
These findings suggested genetic factors have altered brain transcriptomes which contribute to diagnostic differences for broad classes of mental illnesses.
Akula N, Marenco S, Johnson K, et al. Deep transcriptome sequencing of subgenual anterior cingulate cortex reveals cross-diagnostic and diagnosis-specific RNA expression changes in major psychiatric disorders. Neuropsychopharmacology. Published online February 8, 2021. doi:10.1038/s41386-020-00949-5
Close more info about Significant Variation of Expression and Splice Altering Variants Among Broad Classes of Major Psychiatric Disorders

redpajama_set_name: RedPajamaCommonCrawl


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Home > PROPOSALS FOR THE EU ON THE 'MID-TERM REVIEW OF CAP OF AGENDA 2000' WITH EMPHASIS ON THE ENVIRONMENTAL PROTECTION
PROPOSALS FOR THE EU ON THE 'MID-TERM REVIEW OF CAP OF AGENDA 2000' WITH EMPHASIS ON THE ENVIRONMENTAL PROTECTION
Zhou, Jian-Ming
How agricultural policies affect the environment is within ecological economics. The EU Commission `Mid-Term Review of CAP of Agenda 2000' of July 2002 proposed to separate production from direct payments, so that farmers would fully compete in the market, without gearing production to the trade-distorting subsidies. The decoupled direct payment to each farm will be conditional upon cross-compliance with the environmental, food safety, animal health and welfare, and occupational safety standards. MTR maintains extra set-aside payment for normal land to avoid overproduction, but no longer for marginal land. This paper suggests not to set aside normal land, because overproduction would be prevented by decoupling; normal land is less environmentally sensitive, and the direct payment would be enough for farmers to keep it in a good agricultural condition; setting-aside normal land would cost money, and make it unavailable for full-time farmers to achieve economies of scale. It recommends to set aside marginal land which is more environmentally sensitive, and the direct payment may not be enough for farmers to keep it in a good agricultural condition. It advises to gradually convert marginal land back to the nature forever, give a conversion payment to its owners to keep it in a good environmental condition, and pursue non-cereal agriculture and off-farm activities. It advocates a tax on those farmers who refuse to keep a good agricultural or environmental condition on the set aside or converted marginal land for maximally two years, and forced land sale afterwards, which would be less harsh than expropriation.
Agricultural and Food Policy
Environmental Economics and Policy
Conference Paper/ Presentation
DOI and Other Identifiers:
10.22004/ag.econ.11844
Series Statement:
Paper Presented at the Fifth International Conference of the European Society for Ecological Economics, "FRONTIERS 2 - European Applications in Ecological Economics', Tenerife, Spain, February 12-15, 2003
Miscellaneous Papers
Fulltext: cozhou01 - PDF;


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Schools Founded by BSF
British Education
Teaching Standards
Teacher Stories
The British Schools Foundation
Devonshire House 60 Goswell Road London EC1M 7AD Company Registration Number: 8300527
info@britishschools.co.uk
Stuart Young
Stuart Young - Headteacher at The British College of Brazil (BCB)
1. How many years have you worked for the BSF and where?
I have worked for the BSF for 12 years. I began in Beijing and now lead our school in Sao Paulo.
2. Why did you choose to work for the BSF?
When I joined, there was only one school in the Foundation. I joined BSF as I was looking for exciting opportunities teaching internationally. I found it!
3. What positions, and for how many years, have you had at the school(s)?
I opened our school in Sao Paulo 6 years ago.
4. What do you love about your current school?
I love the internationalism of our school. As I was the founding head, this is a very special place to work, especially when I consider the development over the past 6 years.
5. What do you love about the area/country?
Brazil is an extremely vibrant country to live in. The travel opportunities are wide and varied; it's been an exciting place to live!
6. What do you like most about teaching internationally?
International schools provide you with an opportunity to do what you love in exciting environments.
7. What strengths/skills helped you get to where you are today?
The support from the Foundation provided me with the opportunity to lead and open the school here in Sao Paulo. I am a resilient person and this allows me to overcome challenges and look for alternatives.
8. Which of your childhood teachers stood out and why?
It was a Primary school teacher when I was in Year 6 that inspired me to become a teacher. He showed me that learning can be fun and exciting if planned in the right way.
9. What are your most treasured teaching resources?
I've given these up for leadership handbooks!
10. What is the most memorable lesson you have taught?
Probably Primary science lessons that are practical, messy and inspire exploration and questioning.
11. What do you like to do outside of work? Do you have any hobbies?
I love music of all kinds. I really enjoy cooking and eating at great restaurants. I try to keep fit by running and Pilates and I love exciting travel opportunities.
New Campus in 2020
Our purpose built campus will offer age-appropriate facilities designed to nurture the intellectual, physical, social, and emotional development of our students.
Our purpose built campus will offer age-appropriate facilities designed to nurture the...
BSN New Campus
We are delighted to announce that the British School of Navarra will be moving to a new campus next academic year.
We are delighted to announce that the British School of Navarra will be moving to a new...
COBIS Manga-High Maths Challenge
The International School of Moscow has excelled on the world stage, winning the Council of British International Schools (COBIS) 'Manga High' Maths Challenge.
The International School of Moscow has excelled on the world stage, winning the Council...
BSF Annual Heads Meeting
Headteachers from across the BSF network came together for their annual meeting at BSKL.
BSY New Campus
We are delighted to announce that our new campus will be opening in August 2018.
Exceptional Academic Results
BSF students celebrate another year of exceptional exam results.
The British Schools Foundation - Devonshire House 60 Goswell Road London EC1M 7AD Company Registration Number: 8300527
Tel.: +44 203 608 8712 - Email: info@britishschools.co.uk
All Rights Reserved - The British Schools Foundation


Here are the top short stories, fanfiction, poetry, and posts about dislike on Commaful, including topics like "fear", "art", and more. Click here to sign up for more stories about dislike.
*DAILY PROMPT PRACTICE* [Bullying] And another dark piece because well...you guys should know by now that's my specialty >:) Thank you for reading!
"I can do it on my own"


Training good leaders is the future for the growing church in Malawi. This is why Namikango has always focused on training Christ-Centered leaders. We are often called to teach about leadership by the local churches and we just held a meeting in Zomba and will be in Lilongwe later on in the year.
When we schedule these meetings, we call church leaders in the area, inviting them to a central location for a time of fellowship and teaching. There is a lot of interest in this and usually draws large crowds.
We pray that the Lord will help in choosing godly leaders after the teaching has closed.
"And when the Chief shepherd appears, you will receive the crown of glory that does not fade away" 1 Pet. 5:4.


text:
Q: SharePoint 2010: MySites: Add custom tabs to My Profile I want to have custom tabs to My Profile of mysites (where you have overview, organization,etc). I was able to add these tabs by going into Site Settings->Look and Feel-> Navigation-> Add Heading, and point them to my newly created aspx page. However, I am not able to retain the user profile box if I can say (where you have the user info the tabs, etc). Any idea on how to retain it. I am trying to open up the person.aspx and mimic it but no luck yet. Any suggestions?
Edit:
I have application pages linked to 'My Tab1' and 'My Tab2'. I want to have this (I would like to call it) 'user profile box' in my application page so that it look n behave similar to person.aspx, thought.aspx, etc.

A: Here is an overview and base project I put together on my blog to cover how the navigation is configured as well as the base content needed for a new page.
http://www.mikeoryszak.com/sharepoint/user-profiles-adding-a-custom-tab-and-page

A: I dont have access to any dev box right now, but will try to guide you anyhow:
The web control you are refering to is placed inside the person.aspx page.
You could copy that control (and its tag prefix) from person.aspx to your custom page to make it look like person.aspx

A: The way I did was by entirelly copying the content of any of the pages whose behaviour you want to duplicate, and start from there! Just make sure you do keep all the things before the A tag with name="skipContactCard" in the PlaceHolderMain - that is what is generating the head part with  User profile properties.
"Simples" ! Drop me a message if you need more clarifications.

redpajama_set_name: RedPajamaStackExchange


Dr. Seifert likes using data to make decisions, and thrives on taking complex information and transforming it into understandable, actionable resources. When she's not crunching data, April enjoys jumping out of airplanes and occasionally staying inside them to travel the world.
FOR SALE: Used Parachute. Never Opened. Half-Price or Best Offer.


text:
Global Mobile Awards (The GLOMOs)
GLOMOs Judging process
Raising the benchmark for excellence
Our judging process
Our judging panel includes the most prominent subject matter experts from all over the globe – and our process has even won its own award.
Our award winning judging panel
Every year, we enlist the professional expertise of more than 200 independent judges from across the world.
The panel comprises leading industry and subject matter experts, analysts, journalists and academics – and the CTOs of 20 global mobile operators for our CTO's Choice Award.
Did you know that our process has set the benchmark for rigorous, independent and expert judging and has even won its own award?
Enter your Submission Now
Meet our head judge
Shaun Collins (@shauncollins)
CEO, CCS Insight
Shaun founded CCS Insight in 1993, and he and his team have built the business into one of the world's most widely respected and quoted analyst houses. Shaun has been involved in the connected industry since the late 1980s, he was European account director for Motorola when it led the European market, and has held senior roles in the UK, Europe and the US.
With offices in both London and California, CCS Insight continues to go from strength to strength offering research, analysis and advice to many organisations including 9 of the top 10 technology companies in the Fortune 500.
Shaun has been the Chair of Judges for the GSMA's GLOMO awards programme since 2017 and has contributed to it becoming the most widely acclaimed and sought after awards for digital industries in the world. He has also led the KPMG Mobile Start-Up of the Year awards in the UK and can regularly be seen interviewing and moderating discussions with global technology leaders and CEOs, and is often quoted in the media.
The most transparent judging process
All entries will be judged against the criteria outlined in each of the category descriptions and the specific information requested on the entry forms. The decision of the judges will be final.
Check out the 2021 Awards
We won big at the Awards Awards
2020 Awards Awards Finalist Best Judging Process We've been nominated by the Global Conference Network for our fair judging process.
2020 Awards Awards Finalist Best Awards by an Association The GLOMO Awards are the mobile industry's most coveted moment.
Rewarding innovation
To be selected in the shortlist for a GLOMO Award means recognition as a serious player – one to be watched closely in the tech sector. And to then win a GLOMO Award, means achieving the highest merit by your peers across the entire digital industry.
This is a highly prestigious event that attracts entries from the biggest tech names on the planet and I'm honoured to be helping to pick the best of the best.
Robin Christopherson Head of Digital Inclusion, AbilityNet


Watching this movie at Urvashi after a long time reminded me of my good old school and college days when no credit cards or online bookings were needed. How could I forget ice cream at MTR?
..and how did you like it?
I loved it! I thought both HR and AR looked gorgeous. I loved the sets and the costumes and the songs too.
And man, I love the multiplexes, but I sure miss the old theatres. Swagath, Poornima, Rex, Plaza... Sigh!
@ Vaish, Both look royale in those attires.


text:
CONFERENCE COMMITTEE REPORT
DIGEST FOR ESB 475
Citations Affected: IC 5-13.
Synopsis: Public investment requirements. Conference committee report for ESB 475. Permits county treasurers, fiscal officers of political subdivisions other than counties, and certain other local officials authorized by statute or by court order to invest in securities fully guaranteed and issued by federal agencies or instrumentalities (as opposed to discount notes issued by federal agencies or instrumentalities). Permits a public officer of the state to invest or reinvest funds in obligations issued, assumed, or guaranteed as to payment of principal and interest by the State of Israel. Allows the treasurer of state to contract with investment advisors and money managers. Repeals the requirement that an officer of a political subdivision or other local government agency obtain annual approval from the fiscal or governing body before making investments. (This committee report removes provisions allowing the treasurer of state to invest in highest rated commercial paper.)
Effective: July 1, 2003.
Adopted Rejected
MR. SPEAKER:
Your Conference Committee appointed to confer with a like committee from the Senate upon Engrossed House Amendments to Engrossed Senate Bill No. 475 respectfully reports that said two committees have conferred and agreed as follows to wit:
that the Senate recede from its dissent from all House amendments and that the Senate now concur in all House amendments to the bill and that the bill be further amended as follows:
SOURCE: Page 4, line 22; (03)CC047501.4. --> Page 4, delete lines 22 through 29.
Renumber all SECTIONS consecutively.
(Reference is to ESB 475 as reprinted April 8, 2003.)
Engrossed Senate Bill 475
igned by:
____________________________ ____________________________
Senator Lawson CRepresentative Bottorff
Senator BrodenRepresentative Friend
Senate Conferees House Conferees
CC047501/DI 108


The Annual Discovery Dinner on Tuesday, Oct. 27, was held at the Ritz Carlton Chicago and raised over $1.1 million for promising early-stage brain research. The Discovery Dinner host committee, with guest MC and CBS2 host Rob Johnson, welcomed and treated friends, donors and supporters to an evening of education and discussion and honored curators of the local scientific community.
Dr. Richard A. Chaifetz, BRF Trustee and Founder, Chairman and CEO, ComPysch Corporation Chairman, Chaiftez Group presented the Philanthropic Leadership Award to Wilbur H. Gantz, President and CEO, PathoCapital LLC.
Linda Heagy, BRF Trustee, presented to Community Service Award to Ilene Gordon on behalf of Ingredion Incorporated. Ms. Gordon is President and CEO of Ingredion.
Dr. Jay Gottfried, Professor, Neurology and Cognitive Neurology and Alzheimer's Disease Center (CNADC) at Northwestern University Feinberg School of Medicine, with a secondary appointment in the Department of Psychology at Northwestern University's Evanston campus.
Dr. Greg Norman, Assistant Professor of Psychology at University of Chicago. He also the director of Social Psychophysiology and the Neuroendocrinology Laboratory at the University of Chicago.
While discussing stress, the panel touched on its many facets, including triggers, reduction and their link to neurological diseases.


Have you spent at least a decade in college without declaring a major? Do you consider the Mac/PC debate a raging one? Do you own a Star Wars toy? Is it still in the package? If you answered yes to the above questions, chances are you're a Devo fan. Sure, we all know the radio hits "Whip It" and "Peek-A-Boo," but it takes a special breed of person to be a real fan -- generally, developmentally impaired males in their thirties for whom a T-shirt without holes in it is a "dress shirt." Devo's robo-funk guitars and analog synths evoked a futurism held over from The Jetsons and Barbarella; their lyrics are told from the point of view of hyper-logical Vulcans attempting to explain the ways of "those crazy Earthlings." At times this collection of oddments works compellingly, but never as well as it did on their 1982 tour de force Freedom of Choice. Devo's music still possesses a special ability to make the world you take for granted seem interesting and odd. In which case, if you aren't a Devo fan, maybe you should be.


Michibiku's Jenni Lada writes, "We should all be rather thankful to Square Enix. For once, one of the company's many ports is going to do something important. It's been years since we've seen any sort of Pokemon Snap successor, or even any kind of game that handles photography for pleasure well. (We're not talking about Natsuiro High School Seisyun Hakusyo.) Square Enix is giving us an opportunity to enjoy that kind of gameplay again as a bonus feature in the 3DS iteration of Dragon Quest VIII."


People often call me an artist. I do not mind this much, but I worry that those who do call themselves artists might look at my work and be slightly offended that my work should be included in the same category as their assuredly greater "works of art". On the other hand, when people call me an architect, strictly speaking, I must protest: in the UK, I cannot call myself an architect because, without final professional qualification, to do so could defraud potential clients.
This dilemma is occurring more and more to those who studied architecture, practiced architecture and are now researching architecture. It arises because such practitioner-researchers are discovering new techniques for pushing their discipline, closely informed by the practice of new media art. In the eighties and nineties advanced theoretical work in architecture was carried out on paper, in model, in galleries, in books.
Now, it is being carried out in interactive installations, in augmented reality, in networked performances. In some senses, most advanced architectural work is these days produced by non-architects. Technologists at research institutes are developing responsive systems that allow people to interface with their spaces, for example through projection walls, remote devices and 'intelligent' sensors. Property developers instigate technological development for different economic reasons, by increasing efficiency or decreasing costs in construction techniques. Artists pioneer new interface models and question distinctions between audiences and performers or designers and users.
Even more so, it has been people operating within the constantly fluctuating territories of new media art who have had the best opportunities to challenge the boundaries of space design and, by extension, architectural design. They have explored the changing nature of the relationship of people to their environments, manifested in feasible, tangible, built projects.
It is useful for research-based architects to tread the fine line between "architecture" and "art"; it is even more useful to evade the question of just what distinguishes the two because it allows them to take advantage of the best of both.
Artists who work with technology are pioneering new creative research roles. Their processes are iterative, combining practice with research, design with implementation. Their strategies allow them to push both the boundaries of technology and the boundaries of art. Architects can learn from new media artists at a practical level in two particular areas.
First, they can learn the strategy of actually building a project and testing it on real-world people. It has been too easy for architects to speculate on paper or in model "what might be" or "what could happen". Artists are never content to remain in the realm of the "possibility" (apart from a particular type of conceptual art; though even then the proposal becomes the artwork and can be evaluated as such). They can employ techniques of rapid prototyping or low-tech interface, the emphasis being on producing experiences at a 1:1 scale. They can adopt the conceptual approaches of artists by creating works that are socially inquisitive, that critique their own modes of production and that aspire to conversations with other similar projects; by creating works that are, in Matthew Fuller's words "not-just-art" . Primarily, though, they can learn from artists who actually make their projects (as opposed to simply proposing them), which allows others to enter into them in order to critique them. In so doing, they also allow themselves the possibility of acute self-critique because the timescale in an "art" project is usually short enough that feedback from the final built form is close enough to the construction process to have an effect on the original proposal.
Secondly, architects can learn from new media artists ways to implement their ideas through creative funding strategies. The usual mode of production for an architect wishing to pursue a particular conceptual agenda in physical built projects is to develop ideas in concert with a client. The problem in this course lies with needing to find a client first before developing fully a conceptual approach. While the challenges of compromising ideals with client requirements certainly makes the work more interesting it is most often frustrating for the architect not to be able to push the conceptual agenda as far as would be possible without such constraints. Artists, on the other hand, usually develop a project proposal first and then go out and seek appropriate funding for it, whether through an arts grant, a technology grant or commercial sponsorship.
These days there are many such opportunities and for this reason one can find artists using their discipline as a creative research environment that complements cultural anthropology.
Artists, particularly those collaborating with scientists, have been able to push forward the conceptual territory of space use in ways that would be impossible for traditional architects. Through interface development they have explored what might be called "softspace" technologies: systems that incorporate the ephemeral qualities of architecture including smell, sound, light, heat and electromagnetic fields. This approach has concentrated on the interactions that make up the experience of space and has proposed systems to affect these interactions. It has also explored the psychology of spatial perception, helping to expand the boundaries of those perceptions.
Another approach has been to investigate how people operate within such environments. Movements in art that challenge accepted dichotomies between audiences and performers have parallels in spatial investigations that challenge the distinctions beween architects and occupants or designers and users.
These investigations propose new models for environmental design based on systems that welcome the active participation of people operating within those systems, informed by the ways that culture provides frameworks for social interaction. They have considered the notion of "user as designer" and have suggested choreographies and control structures that not only benefit from participants' contributions but actually require them.
1. Fuller, M. "A Means of Mutation" 1998.


Helen and I went out with Mike from NUKB yesterday for a run to Reeth for some ice creams.
We met up with Mike at Clitheroe Services at around 10:00am and then headed over to Settle on our usual route via Sawley and Wigglesworth. We stopped at the petrol station as we were meeting up with some other guys off NUKB. But Paul was having issues with his new Tiger so he headed back home while we continued on to Hawes.
We left Settle on the B6479 and headed through Horton in Ribblesdale to Ribblehead Viaduct. We joined the B6255 here and headed over the new gravely surface to Hawes. The surface has bedded in pretty well but I am still not fully confident with it yet. We arrived at Hawes and it looked very busy with the Police parking up all of the bikes. We decided to head up to the Creamery instead and surprisingly it was pretty quite and the café virtually empty. So we decided to have lunch here while it was quiet.
We left the Creamery and headed back through Hawes, I didn't see the other guys so we just continued on. We turned off onto minor roads and headed over Buttertubs Pass to Thwaite. We joined the B6270 here and headed through Muker and Gunnerside to Reeth. We stopped at Reeth for some ice creams and had a rest in the hot sun.
We left Reeth and headed back to Thwaite on the B6270. We then went back over Buttertubs Pass and headed through Hawes. We then joined the B6255 and headed back towards Ribblehead Viaduct. Pretty much as soon as we left Hawes we were getting flashed and the thumbs down sign, which pretty much spelt out Police. After a while we came across them, three Police vehicles and several Policemen and a laser gun. I'm not quite sure why so many were required, good to see tax payers money going to a good use. Anyway we passed by and continued up to Ribblehead Viaduct where we turned left and headed back to Settle on the B6479. We stopped briefly for a water break at Settle, at which point Helen noticed she had lost our small Nikon camera somewhere.
We left Settle and headed back to Clitheroe via Wigglesworth and Sawley and then turned left and went over Pendle Hill and down into Sabden. We then continued on to Simonstone and then followed the A56/M66 home. After we had arrived home Helen phoned up the Creamery in Hawes and thankfully someone kind soul had handed the camera in. Apparently Helen had dropped it outside on the grass when she was messing about in her bumbag.


text:
L'Office Sway és un programa de presentació i és part de la família de productes del Microsoft Office. Office Sway es presenta l'agost de 2015 i per utilitzar-lo cal tenir un compte de Microsoft. Sway combina text i molts altres tipus d'objectes o recursos com imatges, vídeos, pàgines web, etc. per crear una presentació interactiva.

Microsoft Office
Aplicacions web

redpajama_set_name: RedPajamaWikipedia


text:
Room for Debate: What Color Is Best?
Gawker Staff
Filed to: Arguments
Room for debate
All year long, we've been entranced by the New York Times feature "Room for Debate," in which six people each share short opinion essays on a controversial topic—important and relevant questions from "If store-bought donations at the school fund-raiser are so wrong, what's the solution?" to "Is Anti-White Bias a Problem?" to "Rising Wealth Inequality: Should We Care?" In that spirit, we've decided to host a small "Room for Debate" amongst the Gawker staff, around the topic: "Which Color Is Best?"
Hamilton Nolan: Green
Imagine you're laying on the beach, eyes closed, under a warm sun, a cool breeze ruffling your hair just so. You slowly open your eyes to gaze up at the clear sky—which is GREEN. Fucked up. You would probably freak out and run away, but to where? Wherever you go, the insect blood-green sky is there above you. After a while you'd probably get used to it. This new green world will come to seem normal, even comforting. As long as you never think about what came before—the world you lost. The world you loved.
Also, emeralds.
Max Read: Black
A lot of people think black is "depressing," and I can see where these people are coming from. They are coming from Moronville. Black is a joyful color! What better way to reassure your anxieties than by looking at the great inky vacuum of space and reminding yourself of the pathetically small scale on which you live your life? Black is the color of your inconsequence. It is also the color of death, the moment at which your wretched life will end and your consciousness, the sickest joke biology has ever played, will no longer attempt to separate itself from the sable void of existence. "Depressing." Please! You are depressing, all of you, for trying to gladden the inescapable prison of survival by clinging to wavelengths of light as if they represented anything other than the horrifyingly random tyranny of nature.
John Cook: Wythe Blue
It's Benjamin Moore's Color of the Year. Who are we to argue with the experts?
Much more versatile than you may think, blue is truly a classic color. It has universal appeal, never goes out of style, and is overwhelmingly chosen as a color favorite across North America. It evokes the sea and sky, physically calms us, and symbolizes trust and commitment.
Because of the influence that blue has in our world today, we have chosen wythe blue (HC-143) as Benjamin Moore's 2012 Color of the Year. It's a beautiful, calming hue that has an element of heritage and offers grounding rootedness, providing comfort and stability.
Blue's influence in the world today cannot be overstated.
Adrian Chen: Green and Blue Are Equally Good
There's a reason green and blue sit snugly next to each other on the color spectrum: They're both amazing colors. Deciding between them—the colors of our Earth!—would be like asking a mother to choose between two children.
In fact the entire process of ranking colors is a petty grade-school holdover, a remnant of an American education system that values cold computation and rote memorization over any deeper understanding. I'd hope we can move toward a relational understanding of colors, and away from a hierarchal one. Let's not forget, Americans were once ranked by their color.
Jim Newell: Fuschia
Where do you find fuschia? Researchers suggest that it's in Crayola crayon boxes — the 64-set, occasionally. There is a fuschia crayon that's purple and pink and red but kind of neither. Or rather, there was! The color was created by Attila the Hun's child, Boomer, according to ancient legend, and has been the official color of most European and south Asian countries at one time or another. It was lost, however, during the American Civil War. Some say the world's entire supply of fuschia is kept in a secure vault beneath the Federal Reserve Bank of New York. Can we recover it? I don't think we have a choice.
Seth Abramovitch: Yellow
There was a time that I, like you, never really much appreciated the color yellow. I took it for granted. Grapefruits. Cabs. Roadsigns. Whatever. It was my niece Lola, just three at the time, who first drew me to the enchanting wonders of yellow. She threw herself yellow birthday parties and wore plastic raincoats on sunny days. She drew Pikachus on Post-It Notes. The kid was completely bananas for yellow! And now I seriously cannot freaking get enough of the stuff. Drown me in mustard! Stab me with Number Two pencils! Flatten me with a school bus! Live free or die yellow! (Lola, it bears mentioning, is now nine, and has since moved on to black. She's all yours, Max.)
Maureen O'Connor: Ecru With a Hint of Eggshell
When I was a PhD candidate at Oxford and Cambridge at the same time many years ago, I had my good personal friends Steve Jobs, noted philosopher Slavoj Žižek, Nobel-winning novelist Günter Grass, and Who's the Boss star Tony Danza over for tea. And Slavoj said, "Maureen, won't you play Igor Stravinsky's Trois mouvements de Petrouchka on this mint condition Steinway piano you have in this grand, centrally located London apartment of yours?" And Steve clapped his hands, and Günter said, "Bitte," which I understood, because I know that language, too.
And in fluent ancient Greek I replied, "Certainly, but would you prefer my own pianistic interpretation of what the Diaghilev's Ballet Russe performed to in Paris in 1911, or a perfect replication of Stravinsky's written piano version, which he wrote many years later? I did not just read this on Wikipedia, by the way." And Tony leaned over and said, "Shh, my love, just play this." And the music was printed on the most beautiful sheet of paper. I have come to believe it was the color of God's soul.
Brian Moylan: Sparkle
Many of you will say, "Brian, Sparkle is not really a color." And I will say, "Who the fuck are you and why are you speaking to me? Security!" Sparkle may not be a color but it is a state of mind. It is the shining extravagance that lusters the greatest diamond. It is the light flickering off the iris of the warm body staring back at you in bed. It is the shimmy of jazz hands as they step-ball-change their way across the stage of a Fosse retrospective. It is the pop of color of a perfectly chosen pair of socks as they peek out between shoe and hem. It is the rain as it taps the cone of light under a streetlamp. Sparkle is everything you love in life and everything you ever need. It is sparkle: both invisible and ever present. It will color your entire universe.
Ryan Tate: Orange
The American left has blue, the right has red, and the unbearable centrists have, like, purple or something. But these extreme, perilous times - economically, geopolitically - call for the safety of orange. If you're working on the side of the road, or attaching some flags to your fixie to avoid getting mowed down by a speeding 1-percenter's S-class, are you going to reach for invisible black? Or sleep-inducing blue? Or freaking quiet, organic, compostable green? No! You want orange, the most underrated color going. It's unpopular among nationalistic assholes, fashionistas, ideologues, and other stuck up people (other than, for some reason, Dutch royals and Princeton alumni who haven't sold out orange for some fancypants color like Ecru). Orange: For people who are original but also not jerks.


text:
Newfound Friends Trivia Quiz
How much do you know about the Newfoundland dog's amazing history? Learn about a few Newfoundlands that have saved lives, as well as several other famous Newfs and their owners. This quiz will be difficult unless you're Newf crazy like I am!
A multiple-choice quiz by newfiegrl6. Estimated time: 5 mins.
Animal Trivia
Individual Breeds
newfiegrl6
1. In 1919, a steamship ran aground off the coast of Newfoundland, Canada. When all hope was lost, a Newfoundland dog called Tang that happened to be on board swam to shore with a lifeline. What was the name of the ship? Hint
S.S. Minnow
S.S. Ellie
S.S. Ethie
S.S. Ellis
2. This heroic Newf was the mascot of the Royal Rifles of Canada during World War II, and gave his life defending Canadian soldiers. Hint
3. Napoleon owed his life to a Newfoundland.
4. This Newfoundland is known for saving 11-year-old Andrea Anderson from freezing in a New Jersey blizzard. Hint
5. This Newfoundland played the dog Lou in the movie "Police Academy II". He saved the life of his owner, Kathie Cullen, when her house caught fire. Hint
6. Lord Byron once had a Newfoundland named... Hint
Boatswain
QueQue
Brumis
7. This Newf accompanied Lewis and Clark on their famous expedition. Hint
8. This American Newf belonged to the colonist Samuel Adams. Hint
9. This was another American Newfoundland that belonged to Robert F. Kennedy while he served as Attorney General. Hint
10. The first dog ever trained to save drowning people by jumping out of a helicopter is an English Newfoundland named Siki.
1. In 1919, a steamship ran aground off the coast of Newfoundland, Canada. When all hope was lost, a Newfoundland dog called Tang that happened to be on board swam to shore with a lifeline. What was the name of the ship?
Answer: S.S. Ethie
Thanks to Tang, all 92 passengers were saved. The dog received a gold medal, which he wore for the rest of his life, for his courage.
2. This heroic Newf was the mascot of the Royal Rifles of Canada during World War II, and gave his life defending Canadian soldiers.
Answer: Gander
Gander was once the family pet of Rod Hayden, and was called Pal. Hayden gave the dog to the Rifles, who renamed him Gander after the naval base they were defending. Gander became their mascot. He fought beside them and saved many lives, but he made his most famous rescue during a Japanese attack on the beaches of Hong Kong Island, where the Rifles were stationed. An enemy grenade landed in a large circle of Canadian soldiers. Gander grabbed the grenade in his mouth and ran with it as far away from the soldiers as he could -- before it exploded in his mouth, killing him instantly. Sixty years later, Gander won the prestigious Dickin Medal for his sacrifice.
Napoleon couldn't swim, and fell overboard in the darkness on the way to Elba. Even after a Newfoundland on board saved him from drowning, he hated dogs. Perhaps he was feeling bitter because his archenemy, Lord Nelson, kept a Newfoundland beside him in battle!
4. This Newfoundland is known for saving 11-year-old Andrea Anderson from freezing in a New Jersey blizzard.
Answer: Villa
On February 11, 1983, a violent blizzard hit the Cape May Peninsula. Anderson, who was playing in the snow outside, was picked up by the storm and buried chest-deep in a snowdrift. She would have died of hypothermia if Villa, a Newf belonging to a next-door neighbor, hadn't heard her call for help.
She jumped the six-foot fence of her run and tracked Anderson through the snow. She found the girl and pulled her out of the snowdrift and back to her house through gale-force wind.
5. This Newfoundland played the dog Lou in the movie "Police Academy II". He saved the life of his owner, Kathie Cullen, when her house caught fire.
Answer: Kodiak
Cullen fell asleep when she was cooking. Kodiak was outside at the time, but he smelled smoke and woke his owner by banging against the door.
Kodiak's devotion to his owner showed when he was acting, too -- but not exactly in a good way! He would only obey commands from Cullen or one of her friends, and completely ignored the men on the set. He would actually leave the set if he thought a scene had been shot too many times! The dog proved he had a heart as big as his ego, though.
Besides being an actor and a lifesaver, Kodiak holds the record for being the most titled Newf in the entire history of the breed.
Another famous Newfoundland actor was Nana in the original "Peter Pan" movie.
6. Lord Byron once had a Newfoundland named...
Answer: Boatswain
Byron acquired the Newfoundland when he was a young boy living at Newstead Abbey. He was so attached to Boatswain that, when the dog died, he vowed to be buried in the same grave. It didn't work out that way, since Byron died fighting in a civil war in Greece, but he did write a famous epitaph to Boatswain, and a poem in his honor.
7. This Newf accompanied Lewis and Clark on their famous expedition.
Answer: Seaman
The huge black dog was known to protect the explorers' camp when it was attacked by a grizzly. An American Indian was so impressed with Seaman that he offered three skins for him, but the men declined. Later Seaman was kidnapped by another group of Indians -- to be eaten at a tribal banquet. Lewis and Clark sent out a search-and-rescue party, and eventually the Indians handed the dog over.
8. This American Newf belonged to the colonist Samuel Adams.
Answer: QueQue
QueQue is known to have been such a pest to the British when they blockaded Boston Harbor that they were only too happy to admit defeat and leave!
Newfoundlands were very popular in America at that time -- George Washington and Benjamin Franklin also had Newfs.
9. This was another American Newfoundland that belonged to Robert F. Kennedy while he served as Attorney General.
Answer: Brumis
Brumis was a true celebrity. You could find the big black dog in the halls of the Justice Department, sometimes sneaking into the FBI section of the building! Sometimes the dog "sat in" at Kennedy's feet during top secret meetings. And any dinner guest at the Kennedy household had better watch out -- if Brumis got half a chance, he would snatch food from the table.
Note - some sites have the spelling as Brumus, but Brumis seems to be the more generally accepted version.
The first dog trained to leap from a helicopter to rescue drowning people is an Italian Newf named Mas. She has earned the title of First Canine Lifeguard. Mas is now eleven years old and suffers from arthritis, but she is still a celebrity. She and her trainer, Ferruccio Pilenga, are currently training more dogs to use this amazing water rescue technique.
Keep researching Newfies, and you'll be rewarded with more incredible stories of these big, furry lifeguards.
Source: Author newfiegrl6
This quiz was reviewed by FunTrivia editor crisw before going online.
1. All about Siberian Huskies Average
2. Dobermans Average
3. Siberian Huskies Difficult
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11. Questions about Shar-pei Tough
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Home » Net Worth » Ed Don George Net Worth 2018: What is this wrestler worth?
Ed Don George Net Worth 2018: What is this wrestler worth?
Ed Don George is a professional wrestler. Ed Don George was born in Java, New York. Ed Don George died in Fort Lauderdale, Florida. This page will examine Ed Don George's total career net worth.
Ed Don George Career, Earnings
Ed Don George has had a interesting time wrestling .
Ed Don George Net Worth 2018
Wrestlers' earnings are set depending on league, experience, and skill. According to the league, the median professional wrestler makes around $500,000 a year. But some make $1,000,000+. On the other hand, non-professional community wrestlers get around $1000 or less per match.
Ed Don George net worth: wrestling salary distribution
So what is Ed Don George's net worth in 2018? Our estimate for Ed Don George's net worth in 2018 is:


In the run of a year, Hope for Wildlife receives approximately 20 000 phone calls to their wildlife helpline and rescues/rehabilitates up to 4000 wild animals. They cover five districts, have an online dispatch page with over 300 volunteer members, have approximately 120 people who are rotated through a volunteer schedule that work on site at HFW, as well as 15 paid staff. "Without our volunteers, it would be impossible to accomplish what we do in the run of a day. Sometimes companies like Nova Scotia Power will send a crew of about 30 people to volunteer for the day. This means that something that may have taken a month to accomplish by one person… gets accomplished in one day. It really amazes me" said Swinimer.
Hope for Wildlife has already rescued more than 2200 wild animals in 2018, and currently tends to more than 600 animals on site during their busiest time of the year, Spring.
On June 28th, HFW generously gave The Cooperator a guided tour of their animal rehabilitation grounds. We had the opportunity to explore rooms and see animals that everyone gets to enjoy on their tour, as well as some behind the scenes work and animals that are not open to the public. To list just a few of the animals currently on site at HFW; turtles, snakes, raccoons, foxes, peacocks, seal pups, porcupines, groundhogs, ravens, owls and many more.
Don't forget to save the date for Hope for Wildlife's Open House on August 26th, 2018 from 12pm – 4pm. This open house takes place rain or shine and admission is free. This is a great way to learn more about wildlife rescue and rehabilitation. There will also be wildlife displays and demonstrations, kids' activities, live music, barbeque, and silent auction, as well as local exhibitors, crafts, and food.


I looked up in shock at the clock. It had been two hours already that my dear friend and I had sat engrossed in conversation. It felt like we had just started talking too!
I had so needed that time to connect with my friend; she's one of those rare people who I can talk about anything with and somehow, the conversation always ends up coming back to God and is incredibly uplifting and inspiring. I walk away feeling encouraged in my faith.


text:
Indian cricket fan's new low..
Indian cricket fan keeps hitting a new low. The swings in the mood go from over-optimism to over-pessimism and outright shamelessness. Both the heights and lows of the fan are way over the top.
Ever since India lost the semi-final in the world cup 2015, we have moved to a new low. All kinds of jokes about personal lives of players are being blamed for the loss. Humour is fine but it has become too crass. And this one on beefing security at Indian captain's house is just too much to handle.
I mean India played really well through out the tournament and there is no reason for this kind of behavior. Even if the team does badly, one should not get into all kinds of abuses and personal targeting. People do not really play to lose and you can't win all the time. Sometimes you have a bad day in the office and that is it.
The fans have forgotten how amazingly India won all its previous matches with such aplomb. No one gave us any chance to move beyond quarters and that too because of the format (though England showed the way). To get into such theatrics, speaks really badly about the tolerance levels of Indian cricket fan.
All this points to several lessons for Indian cricketers as well. There are some current crop of cricketers who love all this fan and media attention. They love to make their personal lives public and love all that hype. One should learn from the earlier players who just played cricket and kept all this hype away. They protected their private lives fiercely and did not allow any such talks. Even then they were not spared if we remember the 2007 World cup..
One should be weary of Indian fan's over the top attitude all the time. There is no scope for tolerance here…
Posted in Cricket | Leave a Comment »
Arbitrage opportunity in Indian railway tickets..
Well, one can only do so much. The Govt recently hiked the price of platform tickets (allows to just enter the railways station, could be to drop or pick someone or any other purpose) from Rs 5 to Rs 10. I mean now we have stopped hiking prices by 1 or 2 Rs. It is straight double which become too much to handle. Why should someone pay that much right away?
Anyways, interestingly there is an arbitrage opportunity. It is not a strictly arbitrage in the finance sense where one can buy cheap and sell expensive without a fuss. Here, one can avoid buying the platform tickets as train tickets are cheaper. The cheapest travel ticket in Hubbali costs Rs 5. So someone can still just pay Rs 5 and get the platform ticket service:
Starting April 1, Rs 10 will get you entry to Hubballi railway station platform, while Rs 5 will take you to Unkal, 20km away. Or Kundgol. Or Kusugal. That's the minimum fare on an unreserved ticket. People chary of paying up Rs 10 for a few minutes of farewells on the platform, have already found a way to get paisa-wise: buy a general ticket for Rs 5, spend time on the platform with family and walk coolly out of the station – Rs 5 saved. Such shades of Scrooge are apparent among our folk who are looking to take advantage of an option provided, wittingly or otherwise, by the railway ministry itself.
The railway ministry has decided to increase the rate of platform tickets from Rs 5 to Rs 10 from April 1. It has also allowed divisional railway managers to increase the platform ticket rate beyond Rs 10 for occasions like fairs, rallies and festivals, the intention being to control the rush on platforms.
Passengers have been quick to spot the irony of the situation – that the minimum fare for ordinary trains is Rs 5, 50% less than the proposed rate of a platform ticket. They also know that no one can object to them walking on to the platform, armed with a ticket for Rs 5 – it may be unethical but perfectly legal, and probably happens only in India. Receiving family members and saying goodbyes is a deep-rooted Indian travelling tradition which few violate.
A clerk at Hubballi station recalled that this was happening regularly till October 7, 2013, when the minimum journey fare was Rs 3 and the platform ticket rate was Rs 5. "When the minimum fare was raised to Rs 5, on par with a platform ticket, visitors started buying platform tickets. Now it will be back to square one," he said. A lady clerk, who worked at Bengaluru City station earlier, said this is common in the metro too. Passengers buy a ticket to Malleswaram, Cantonment or Nayandahalli stations for Rs 3 to evade paying Rs 5 for a platform ticket. "This was the general fare for ordinary trains then," she recalled.
As unreserved tickets can be bought only an hour before the train arrives, passengers have found a way out of such tight situations too: they buy tickets for any ordinary train headed in any direction, at any time. Naveen Parapur, a construction worker in Hubballi, recalled that he often bought tickets to Unkal, Kusugal or Kundgol — stations on Hubballi's outskirts but on different routes – for Rs 3 just to reach the platform. "I will do this now too. I will certainly not buy a platform ticket for Rs 10," Naveen said.
Mahendra Singhi, member of the Divisional Railway Users' Consultative Committee, said the ministry's move lacks practical sense. "The ministry itself is promoting this unethical practice. Seeing off and receiving family is our tradition, the ministry should look on it as a service rather than as a commercial opportunity. It should maintain the same fare for platform tickets or reduce it," he felt.
It has come to our notice that the minimum journey fare is less than the proposed rate of the platform ticket. As journey tickets are given one hour before the arrival of a particular train, visitors cannot buy such tickets all the time. If they do this to evade buying platform tickets, they cannot be prosecuted according to the existing guidelines.
Fascinating. And we keep thinking poor people are stupid. They are the first to spot such opportunities.
I mean more than just increasing the fare, one should ensure there is regular checking to ensure people buy platform tickets. Most of the time it is not the case. The government is more interested in random surprise checks which only leads to more illegal monies in the pockets of checkers. On being caught, people just pay half the fine as a bribe which is a win -win for both.
A simple check at the entry and exit point will ensure both, more revenues and less traffic on the platforms.
Posted in Discussion, Indian Economy/Financial Markets | Leave a Comment »
Village as 'Class' and City as 'Mass': Andhra Pradesh Capital Development Story
S Ananth is doing a terrific job telling us about what is going on Thullur, AP's new designated capital. In an earlier EPW article he had showed how land sharks had taken control of the designated site. The prices were zooming as if there is no tomorrow.
In a recent picturesque piece, he says land price mania has declined. But the village continues to be developed into a city. The villagers are not sure where their lives are heading. Worse, agriculture priorities are changing:
Was Mahatma India's first corporate agent?
Bhupesh Bhandari reflects on the recent comments to call Mahatma Gandhi India's first corporate agent. Not sure about that. As there have been so many before. People call East India Company the world's first corporation and there were quite a few Indian agents of the company as well.
Arundhati Roy recently called Mahatma Gandhi India's first "corporate agent". Ms Roy has never hidden her visceral dislike for "capitalists". India allows full freedom to profess your economic philosophy, so there's nothing wrong with that. But the bigger question is: did Gandhi really push the interests of businessmen?
Unlike the Left-leaning leaders, Gandhi did mingle with them freely. His closeness to the Bajaj and the Birlafamilies was well known. He often stayed with them for long periods – he even died in the lawns of Birla House in Delhi. Ever the practical man, Gandhi knew that the freedom struggle would require money, and the only people he could tap for money were businessmen.
Soon after Bharat Ram, of DCM, got married in 1935, he took his wife to meet Gandhi, who was at that time in Delhi, to seek his blessings. Gandhi was staying in a colony of untouchables. When the newlyweds came, Gandhi, who was at his spinning wheel, said: "Do you know that my thirst for begging is simply unquenchable? I do not mind taking ornaments either." Shiela, Bharat Ram's wife, got the message, took her gold bangles off and handed them over to Gandhi.
as there a quid pro quo? It was said forcefully by his detractors that Gandhi's call to boycott things made abroad helped Indian industry immensely, especially textile mills like DCM. It is difficult to say if that was the intended consequence of the boycott.
What is certain is that even his ardent followers in the business community, men like Ghanshyam Das Birla and Lala Shri Ram (Bharat Ram's father), had serious differences of opinion with Gandhi.
Lala Shri Ram, having supported the Congress in the Swadeshi movement, expected the party to do something for Indian business. Instead, he was alarmed at the rise of the Leftists within the Congress and their disdain for businessmen. When Gandhi inaugurated the annual meeting of the Federation of Indian Chambers of Commerce and Industry, or Ficci, in 1931, Lala Shri Ram said in plain words that he felt let down by the party. "We would suggest you a sort of convention for the future that in all matters pertaining to the realm of economics, the Congress before making up its mind will allow us to offer it our suggestions and if necessary have discussions with our members."
This is hardly the stuff today's industrialists would dare to tell their leaders.
Gandhi accepted the suggestion graciously; in fact, he suggested that Ficci should go a step further. "I want you to make the Congress your own and we would willingly surrender the reins to you. The work can be better done by you." But he imposed his terms. "If you decide to assume the reins, you can do so only on one condition. You should regard yourself as trustees and servants of the poor. Your commerce must be regulated for the benefit of the toiling millions and you must be satisfied with earning an honest penny."
After that, Gandhi allayed the fears of the businessmen by saying that he did not agree with the Leftist worldview of them. "I do not for a moment believe that commercial prosperity is incompatible with strict honesty. I know businessmen who are absolutely honest and scrupulous in their dealings. It is, thus, easily open to you to take charge of the Congress."
Gandhi and Birla, in spite of their well-publicised closeness, too differed – frequently and strongly. While both were nationalists, Birla, being a pragmatic businessman, felt uncomfortable about Gandhi's confrontationist agenda. According to business historian Gita Piramal, Birla begged Gandhi to attend the Round Table Conference (1930), questioned his support for the hardliner Swaraj party (1931), advised him against a second civil disobedience movement (1932) and pleaded with him for the Congress to contest the provincial elections (1935). "By the mid-1930s, the wedge between Birla and Gandhi had jammed into place," she wrote in her 1998 book,Business Legends.
To leverage the differences between the tallest leader of the day and his principal financier, the imperial government in 1932 offered knighthood to Birla, which he declined. So much so, in 1942, when it was time to launch the Quit India Movement, Gandhi, who was living at Birla House, moved out to the Congress office, lest it embarrass his host who had been making windfall profits in World War II. Birla, according to one account, had to cajole Gandhi to return to his house.
There is nothing in all this to suggest Gandhi worked like an agent of his businessmen friends.
Historically, politics, business and money have been really close friends and foes. Both have needed each other to prosper. It will be actually interesting to see the relation between these two actors – politicians and businesspersons – from a historical perspective. In the early years of Indian independence it was fashionable for politicos to remain distant from businesses. As times passed, the bridges were built and bridge distance also got shorter. Now, some might say the relations have become too close for comfort.
How has One Day cricket changed?
Kumar Sangakkara is not just about exceptional batting but also really good with expressing his views.
In this detailed interview he points what all has changed in one day cricket:
How have demands on one-day batsmen changed since you began?
Roles of batsmen have changed. When I started, for a long time they told me my job was to bat 40 overs and let everyone else bat around me. It was a case of just holding the fort and playing, playing, playing. That was basically my job at No. 3. But when the sides changed, when your role changed from being a guy who bats 40 overs to someone who could score quickly and bat for only 20 overs, and that's still good enough for the side. Everyone is thinking about making an impact with their run-making.
Now when I go in to bat, if the situation calls for it, I've tried to keep my strike rate at around 100. I know that if I'm anywhere between 85 to 100 when the Powerplay comes, I know I can kick that up to 120-130 or even further. The mindsets have all changed. You don't hold the fort for the rest of the guys anymore. The rest of the guys are capable of doing that.
How is your technique and mindset different now, compared to the start of your career?
With technique, I bat differently each game, probably. Sometimes I don't tap the bat. Other times I change my set-up. What I realised is that in one-day cricket you can do all of that and sometimes need to do all of that to get yourself momentum, create pressure or get a better rhythm, depending on the stage of the innings. For example, I'd tap the bat and I'd keep it up if there's a bit of pace around, and look for other areas to score singles.
"I admired the way Mahela Jayawardene manipulates spin, or the way Tillakaratne Dilshan hits the short ball, but I had to figure out what works for me"
More importantly, if there's a weak link in a bowling attack, you've got to take advantage of it. If they are bowling a part-timer and you've had a good start, you take them on because that creates a lot of pressure. That attitude has been there for a long time from other sides, but for us it's been a case where now, consciously, we've made the change to go after them.
Spinners also now have the extra fielder up because of the new rules. So you try and create pressure on the spinner by taking the boundaries on. It's just a case of trying to reverse pressure. More often than not, it works.
If we see history of cricket from the different forms played, test matches have remained more or less the same. Test matches are only about the sport and hence players know its true value.
It is one dayers and T-20s which have posed questions as they try and balance entertainment with sport. Earlier it was ODIS which brought spectators to grounds and now T-20s. As T-20s have mushroomed and become popular, ODIs are struggling to fight for relevance. Infact, what ODIs did to test matches, T20s are doing to ODIs.
End result has been to make ODIs like T20s with flatter pitches, smaller boundaries, 4 fielder restriction and so on. The whole thing has been to make the game more and more batter friendly. To hell with bowlers who have to keep looking at ways to control batters with latter having all licences to kill. The shorter boundaries, flatter pitches have followed with broader bats, powerful bats and so on.
Any game balance is important. Just to draw more crowds, one cannot just make the game so one sided as cricket has become. The game is not just about hitting 4s and 6s but should test the overall skill level. I mean the thrill you get to see Wahab Riasz type spells has become such a rare thing..
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KFx Medical Corp. ("KFx") alleged that Arthrex, Inc. ("Arthrex") infringed three of its patents: United States Patent Number 7,585,311 ("311 Patent"), United States Patent Number 8,100,942 ("942 Patent") and United States Patent Number 8,109,969 ("969 Patent"). All three patents share the same name: "System and Method for Attaching Soft Tissue to Bone." KFx's moved for summary judgment of no inequitable conduct in connection with the '942 Patent and the '969 Patent.
Turning to the defendants' first argument, KFx asserted that the evidence surrounding Mr. Melnick's submission of the Scott Statement was not sufficient to allow the inequitable claim to proceed. KFx argued that there was no evidence to support a finding of materiality or a finding of deceptive intent.
Accordingly, the district court granted the motion to dismiss the inequitable conduct claim.


text:
package org.apache.spark.network.sasl;

import java.io.IOException;
import java.nio.ByteBuffer;
import javax.security.sasl.Sasl;

import io.netty.buffer.ByteBuf;
import io.netty.buffer.Unpooled;
import io.netty.channel.Channel;
import org.slf4j.Logger;
import org.slf4j.LoggerFactory;

import org.apache.spark.network.client.RpcResponseCallback;
import org.apache.spark.network.client.StreamCallbackWithID;
import org.apache.spark.network.client.TransportClient;
import org.apache.spark.network.server.RpcHandler;
import org.apache.spark.network.server.StreamManager;
import org.apache.spark.network.util.JavaUtils;
import org.apache.spark.network.util.TransportConf;

/**
 * RPC Handler which performs SASL authentication before delegating to a child RPC handler.
 * The delegate will only receive messages if the given connection has been successfully
 * authenticated. A connection may be authenticated at most once.
 *
 * Note that the authentication process consists of multiple challenge-response pairs, each of
 * which are individual RPCs.
 */
public class SaslRpcHandler extends RpcHandler {
  private static final Logger logger = LoggerFactory.getLogger(SaslRpcHandler.class);

  /** Transport configuration. */
  private final TransportConf conf;

  /** The client channel. */
  private final Channel channel;

  /** RpcHandler we will delegate to for authenticated connections. */
  private final RpcHandler delegate;

  /** Class which provides secret keys which are shared by server and client on a per-app basis. */
  private final SecretKeyHolder secretKeyHolder;

  private SparkSaslServer saslServer;
  private boolean isComplete;
  private boolean isAuthenticated;

  public SaslRpcHandler(
      TransportConf conf,
      Channel channel,
      RpcHandler delegate,
      SecretKeyHolder secretKeyHolder) {
    this.conf = conf;
    this.channel = channel;
    this.delegate = delegate;
    this.secretKeyHolder = secretKeyHolder;
    this.saslServer = null;
    this.isComplete = false;
    this.isAuthenticated = false;
  }

  @Override
  public void receive(TransportClient client, ByteBuffer message, RpcResponseCallback callback) {
    if (isComplete) {
      // Authentication complete, delegate to base handler.
      delegate.receive(client, message, callback);
      return;
    }
    if (saslServer == null || !saslServer.isComplete()) {
      ByteBuf nettyBuf = Unpooled.wrappedBuffer(message);
      SaslMessage saslMessage;
      try {
        saslMessage = SaslMessage.decode(nettyBuf);
      } finally {
        nettyBuf.release();
      }

      if (saslServer == null) {
        // First message in the handshake, setup the necessary state.
        client.setClientId(saslMessage.appId);
        saslServer = new SparkSaslServer(saslMessage.appId, secretKeyHolder,
          conf.saslServerAlwaysEncrypt());
      }

      byte[] response;
      try {
        response = saslServer.response(JavaUtils.bufferToArray(
          saslMessage.body().nioByteBuffer()));
      } catch (IOException ioe) {
        throw new RuntimeException(ioe);
      }
      callback.onSuccess(ByteBuffer.wrap(response));
    }

    // Setup encryption after the SASL response is sent, otherwise the client can't parse the
    // response. It's ok to change the channel pipeline here since we are processing an incoming
    // message, so the pipeline is busy and no new incoming messages will be fed to it before this
    // method returns. This assumes that the code ensures, through other means, that no outbound
    // messages are being written to the channel while negotiation is still going on.
    if (saslServer.isComplete()) {
      if (!SparkSaslServer.QOP_AUTH_CONF.equals(saslServer.getNegotiatedProperty(Sasl.QOP))) {
        logger.debug("SASL authentication successful for channel {}", client);
        complete(true);
        return;
      }

      logger.debug("Enabling encryption for channel {}", client);
      SaslEncryption.addToChannel(channel, saslServer, conf.maxSaslEncryptedBlockSize());
      complete(false);
      return;
    }
  }

  @Override
  public void receive(TransportClient client, ByteBuffer message) {
    delegate.receive(client, message);
  }

  @Override
  public StreamCallbackWithID receiveStream(
      TransportClient client,
      ByteBuffer message,
      RpcResponseCallback callback) {
    return delegate.receiveStream(client, message, callback);
  }

  @Override
  public StreamManager getStreamManager() {
    return delegate.getStreamManager();
  }

  @Override
  public void channelActive(TransportClient client) {
    delegate.channelActive(client);
  }

  @Override
  public void channelInactive(TransportClient client) {
    try {
      delegate.channelInactive(client);
    } finally {
      if (saslServer != null) {
        saslServer.dispose();
      }
    }
  }

  @Override
  public void exceptionCaught(Throwable cause, TransportClient client) {
    delegate.exceptionCaught(cause, client);
  }

  private void complete(boolean dispose) {
    if (dispose) {
      try {
        saslServer.dispose();
      } catch (RuntimeException e) {
        logger.error("Error while disposing SASL server", e);
      }
    }

    saslServer = null;
    isComplete = true;
  }

}

redpajama_set_name: RedPajamaGithub


text:
Birlik steht für:
 Birlik (Kasachstan), eine Gemeinde in der Provinz Almaty (Gebiet) in Kasachstan

Birlik ist der Familienname folgender Personen:
 Atilla Birlik (* 1977), türkischer Fußballspieler
 Leyla Birlik (* 1974), türkisch-kurdische Politikerin


All new Angry Birds tap to match game!
The pigs have trapped Angry Birds inside of balloons! Tap them free and stop the pigs and save the the Birds' eggs.
Join this addictive puzzle-adventure game and start your rescue mission to save the birds before the piggies turn their eggs into omelettes.
Your pursuit of the pigs takes you on a journey through magical landscapes and tricky levels. Use your skills and experience to outsmart the pigs and overcome all the obstacles they put in your way.
Find the cleverest ways to solve levels, crack the high scores, and receive generous rewards!
Spend your rewards on mighty power-ups or win them through clever gameplay.
Use Slingshots, Twisters, Rockets, Bombs, and Laser Guns to blast your way through levels and always stay a step ahead of the sly piggies.
See who is better at freeing the Birds and help each other out on your journeys defeating the pigs.
A balloon puzzle has been added to the popular 'Angry Birds' series worldwide. While rules are simple, you can enjoy puzzles that use your head.
Since the birds are lining up as a panel of balloons, let's tap the panel where two or more same colors are connected and burst. It is easier to clear by letting it rupture as much as possible in a connected state.
Just tapping at a blanket can hardly be cleared, it is refreshing when successfully devising successfully!