Adventure Mode is a Minecraft modification which aims to bring more adventures into Minecraft without changing too much of the vanilla experience.
True to the motto »God is in the details« Adventure Mode does not try to bring more and more content in form of mobs, blocks, dimensions or other stuff. Instead it tries to take what is there and reorganize everything into a more challenging and compelling presentation.
Please Note: The Mod is a WiP. All data about this project may change in the future. Due to the fact that I am working on this alone progress may be very slow or even halt if I work on other stuff.
Adventure Mode has its own little Website to present itself with all of it's features. A download is also available on the Adventure Mode website.


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Muv-Luv Alternative: Total Eclipse – Collection 1 (Sentai Filmworks)
Should we talk about the Sentai release? Let's talk about the Sentai release.
I haven't listened to a Sentai dub in a while, because quite frankly, the ones I heard a few years ago were absolutely terrible. I've heard some great dubs back in the ADV days – some clunkers too, naturally, but I know this is a talent pool capable of greatness. But everything I heard from Sentai was just awful, and the fact that many of the actors were capable of much better only seemed to make the experience even worse. I've heard they've improved since then, but the Sentai releases that I've bought in the past year are still in my backlog so I haven't heard them yet. So, I went into this dub with low expectations, but with the hope that it would exceed them – not unlike how I went into the anime adaptation itself, actually.
Before getting into the dub, let's look at the subtitles a little. I didn't do a side-by-side comparison, but to my eye they look like a slightly cleaned-up version of the Crunchyroll subtitles. Many of the translation choices remain the same. The rank of 少尉 is translated as "Ensign", and 中尉 as "Lieutenant". These are fairly common translations for those ranks in anime (you can see them in Gundam, for instance), although they don't strictly correlate with actual US Army ranks. The name "Shiranui Second" is still rendered as "Shiranui Type 2". One thing that has changed is that names are much more standardized. I seem to recall Ibrahim Dogulu's name spelled three different ways in the Crunchyroll subs, but those instances have been changed to the correct spelling. However, the worst is that, just like the Crunchyroll subtitles, the Sentai subtitles retain the Japanese words "Eishi" and "Chobi" rather than translating them. This was by far the worst aspect of the Crunchyroll subtitles, and my greatest hope was that the Sentai release would fix it. A shame.
The English dub, unfortunately, has a fatal flaw: it continues to use the Japanese words "Eishi" and "Chobi" in dialogue. This is, without question, the worst decision they could have made, and it breaks the show completely. How can anybody take seriously a show in which the lead character – an American, in the US army, assigned to a base located in America in which English is the common language, and whose defining characteristic is a hatred of anything Japanese – refers to his OWN JOB – a job invented by the Americans – with a Japanese word? It doesn't make any sense at all. This is not a small mistake – Yuuya's attitude towards the Japanese is at the very heart of the show, and now it is completely incomprehensible. Reading the word in the subtitles was bad enough, but actually hearing an English-speaking Yuuya say the word out loud just drives home what a terrible idea this is.
For the rest of this post, I'll do my best to review the rest of the dub, but the truth is that I went into this dub with only one major criterion: replace "Eishi" with an English word. The fact that it didn't is a very big strike against it in my eyes.
The dub script is an often overlooked part of an English dub, in that it has much more influence over whether or not a dub sounds good than most fans give it credit for. The scripts for Sentai dubs used to be atrocious, and were probably the main reason the old dubs sounded so bad. Scripts were often credited to the original translator and the ADR director, and listening to the dubs made it clear that they were simply using the subtitle scripts directly without any adaptation, and with only minimal changes done by the director when it became clear that a line wouldn't fit the lip flaps. This is death for a dub – lines that may sound OK when intended to be read as a translation of a different language sound unnatural and stilted when forced to be read aloud in English. There absolutely needs to be a dedicated script adapter who actually does go through the script and rewrite lines to sound good in English.
Recent Sentai dubs do indeed credit the scripts to an actual person who isn't just the translator, and this is probably the main reason why I've heard people say they've been improving. The Total Eclipse script, credited to Nancy Novotny and director Kyle Jones, was pretty solid. I often judge a dub script by how often a line is so poorly worded that I essentially try to "un-translate" the line back into Japanese to figure out what was actually being said. In a bad dub, I'm doing this almost constantly because the badly worded lines pull me out of the experience so much. In a good dub, I forget to do this because I get engrossed in the dub itself. I don't really recall doing this while watching the Total Eclipse dub, which is a very good sign. My complaints are about mostly smaller things, individual moments rather than overall flaws. The script sometimes takes advantage of lighthearted scenes to throw in certain modern-day slang that I wouldn't have included. Yamashiro at one point refers to Yui as a "bitch", which is wildly out of character for her. But again, these are very small nitpicks.
Unfortunately, the script doesn't go beyond that, adding that extra layer of polish that makes a dub truly great. It does indeed rewrite lines to sound more natural in English, but it doesn't put in the extra effort to push it to the next level. It's hard for me to explain, but the best dub scripts I've ever heard go beyond what's written on the page, to the actual idea embedded in each line. And then, just as the original Japanese writers wrote the line to express that idea in Japanese, the dub writers would then write a line to express that idea in English – without being a slave to the Japanese line. To be done right, the dub writers need both to understand fully the ideas behind the show, and be good enough writers to write a strong English script that reflects those ideas. When it works, though, a dub is even capable of surpassing the original Japanese language version. Of course, it goes without saying that a script writer who could write an English-speaking Yuuya describing himself with a Japanese word doesn't understand the show well enough to do any such thing. But considering Sentai's previous work, I'm happy to take the more workmanlike quality they have to offer here.
(Incidentally, the dub script changes the ranks to reflect the actual US Army ranks – 2nd Lieutenant and 1st Lieutenant rather than Ensign and Lieutenant. That was unexpected but nice, particularly since the anime's own English screens identify Yuuya as 2nd Lieutenant.)
All right, let's (finally) talk about the performances. Corey Hartzog plays Yuuya, and absolutely nails the role. Hartzog has been in a lot of Sentai dubs, but I don't recall ever taking special notice of his roles before. But he just knocks it out of the park here. From the first time he opens his mouth, I instantly accept him as Yuuya. Yuuya is a very tricky role, particularly here in the first half of the anime, because he says some pretty arrogant stuff, but you still have to buy into him as a reasonably good guy trying to do his best. Yuuya is our window into this world, so the audience should always be able to find a way to understand him. I always found Hartzog's Yuuya to be relatable, and I could always see his side of things, even when objectively he was spouting a bunch of crap. Total Eclipse is Yuuya's story, and having such a solid performance in the lead role really sets the right tone.
I wasn't as wild about Krystal LaPorte's performance as Yui. Yui is in many ways a more difficult role than Yuuya because she's just as complicated as he is, but after the first two episodes we rarely see things from her point of view, so she's often a mystery on the surface. Yui fundamentally doesn't know what she's doing, and tries to cover it up by projecting an aura of authority and confidence that only grows thicker as she feels more uncertain. On the surface, she should be crisp and assertive – she gives orders and brooks no dissent. LaPorte sounds a little too soft and unsure. She, frankly, sounds too reasonable, as if she were actually trying to reason with Yuuya rather than demanding blind obedience. Yui should be a brick wall that Yuuya keeps slamming himself against. I actually like LaPorte's performance as young Yui in the first two episodes, so I don't think the problem is she's a bad actress. I think she (or probably more accurately the director) just interprets Yui differently than I do. In that sense, I actually might like her performance more in the second half of the series, as Yui really does start to soften up and become more open to other points of view.
The other major characters are generally good, but just about all of them take about an episode to really settle in. For example, Terri Doty (Tarisa) spends her first episode with a much lower and normal-sounding voice, before settling into a higher, more exaggerated performance that suits Tarisa better. Brittney Karbowski (Inia) sounds like a fairly typical girl in her first episode too, while afterwards she sounds much more naive and innocent. It sounds to me like everybody is kind of figuring out their characters as they record them, rather than hashing out how their characters should sound before recording. Sentai is pretty infamous for recording their dubs very, very quickly, and this is definitely a symptom of that. It's unfortunate, because once they settle in, pretty much all the major characters sound about what I would expect. But they just may not be getting the time they need to really understand their characters beforehand if Sentai really is forcing them to record at the pace that they're rumored to.
(Another problem with recording so quickly is that sometimes mistakes slip through and there isn't time to fix them. For instance, at one point Vincent refers to the Type-94 Shiranui as the "Type-49". It's really obvious, considering how often the number 94 is mentioned in dialogue, but either they were too rushed to catch it or they were too rushed to correct it.)
I did notice that the men tended to settle in much faster than the women. Blake Shepard (Vincent) and Ty Mahany (Ibrahim) sound great from the very beginning. I suspect part of it is simply that most of the men on this show should sound "normal", while most of the women are either more complex or more exaggerated, so they all start off with a normal range and then figure out where to go from there.
Once everybody settles in, the direction and acting turn out much like the script – acceptable but unambitious. In a really good dub, the dialogue flows so naturally that it's almost inconceivable that all the actors were recorded separately. This dub avoids the stiffness and awkward pausing that plague bad dubs, but it doesn't have the flow of a really good dub. I don't mean to sound too down on this dub. Everybody sounds good and in-character. It's just that, with the exception of Hartzog as Yuuya, nobody is really leaving a major impression that lasts even after the episode is over.
One thing I was worried about with an international cast of characters is cheesy accents, and we get some here. Jay Hickman (Valerio), Emily Neves (Natalie), and James Belcher (Rogovski) all put on some pretty over-the-top accents. Hickman in particular I have a hard time even understanding sometimes. Valerio is a pretty comedic character, but he has his moments of gravitas, and they don't come over very well with such a thick, cheesy accent. Natalie is a lightweight character now, but I'm a little worried about what's coming up for her too. I don't mind cheesy accents in comedic shows, but Total Eclipse is a little too serious for them.
I noticed something interesting in the credits: when the Japanese cast credits were too vague, the English cast credits would occasionally have a bit of fun. And so it came to be that the instructor in Yui's class from the first two episodes, who was merely credited as "Instructor" in Japanese, is credited as "Professor Eyepatch" in English. The bald, bearded base commander from episode 9, who is credited only as "Commander" in Japanese, is also credited as "Officer Lincoln" in English (that one actually took me a while to figure out who they were even referring to). For the record, both of them have actual names (Kouzou Sanada and Georgi Barakin), but those names were assigned later and did not exist when the anime was made, so there's certainly no way the English staff could know them. I certainly have no problem with a bit of whimsy when it doesn't affect the actual contents of the show.
OK, let's move on to trivia. The release includes the standard creditless OP/ED. However, they also include the 2nd creditless OP/ED as well, from the Terrorist arc. But that's not all: the version they include is not the one from the actual episodes. They're from the sneak peek from the special episode that played in between episodes 19 and 20. In the week between that special and episode 20, they actually touched up the OP/ED a little bit. The OP doesn't have many changes. The second-to-last shot, with Yui and Cryska, is empty in the preview OP. I think they also fiddled with the timing of when the RLF members appear on-screen. The ED has more noticeable changes. The final ED has Cryska in the UN fortified suit she wears during the Terrorist arc, but the preview ED had a shot of her wearing her usual fortified suit. And the big pan at the end, which in the final ED includes a shot of the ruined remains of the Shiranui Second and the Berkut in combat, only has a silhouetted shot of the two TSFs standing. It's really interesting that the Sentai release included these versions; I imagine the person in charge of supplying the creditless OP/ED on the Japanese side simply screwed up. I'll be curious to see if the second collection includes the finalized OP/ED, or if it'll still be these versions. I really don't care much – the differences are pretty small, and the finalized OP/ED are actually available on the anime's YouTube site.
(Also, while we're talking about the OP, for anybody who only watched the broadcast version of the show, the home video release actually changed the OP slightly when they entered the Soviet arc. Go take a look!)
I'm very aware that I'm the odd one out here in thinking that Total Eclipse is an exceptional show – in Sentai's eyes, not to mention the eyes of the North American fanbase, Total Eclipse is a low-tier show. So it does please me that this is most emphatically not a "low-tier" dub. The scripting, excepting the problem with the Japanese words, is far above the level that Sentai was turning in a few years ago. The actors are generally cast well and give good performances. Nobody is going to be winning any awards here, but this is nonetheless a dub that I enjoyed listening to, which is pretty good considering how many times I've watched this show (and played the game) with the Japanese cast. And with the shakiness of the first few episodes hopefully out of the way, I am cautiously looking forward to an even better second half.
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text:
Icon George Faison Endorses The Wiz @ Hillside HS, Wendall Tabb @ Hillside HS Durham
November 4, 2016 wcalvinandersonmed	Leave a comment
GEORGE FAISON, BROADWAY'S FIRST AFRICAN AMERICAN TO WIN A TONY AWARD FOR BEST CHOREOGRAPHY, TO APPEAR AT HILLSIDE'S OPENING NIGHT GALA OF THE WIZ
The gala event for "The Wiz" will take place on Friday, Nov. 4, at 7 p.m. Other show times for "The Wiz" are Saturday, Nov. 5, at 3:15 p.m. and 7:15 p.m. and Sunday, Nov. 6, at 3:15 p.m.
Dr. George Faison accepted an invitation to visit Hillside given by Drama Director Wendell Tabb as part of his "Celebrities in the Classroom" program. The program is committed to inspiring a high level of artistry by connecting young people with artists who have paved the way and are eager to share their knowledge of the business with high school students in the arts. "I am elated that Dr. Faison will visit Hillside to share his expertise and experiences with our students", said Hillside Principal Dr. William Logan. "Mr. Tabb's 'Celebrities In The Classroom' program has connected artists with our students and encouraged them to pursue their dreams of performing at the collegiate and professional levels."
Dr. Faison is a celebrated producer, writer, composer, director, choreographer and dancer. He made history in 1975 when he became the first African American to win a Tony Award for Best Choreography for "The Wiz." He began his career as a principal dancer with the Alvin Ailey American Dance Theatre. His Broadway career began with the musical "Purlie" by playwright, actor and humanitarian, Ossie Davis. After leaving the Ailey Company he formed his own company, the George Faison Universal Dance Experience. He has also choreographed and staged concerts for musical greats including Ashford and Simpson, Roberta Flack, Stevie Wonder, Earth, Wind and Fire, Dionne Warwick, Stephanie Mills and many more.
Wendell Tabb (Producer/Artistic Director) is a native of Louisburg, North Carolina and has worked as Drama Director and Teacher for the past 30 years with the Hillside High School Theatre Program.
He is the founder and Artistic Director of Wendell Tabb Productions. He received his B.A. degree in Theatre Education and M.A. degree in Educational Administration from North Carolina Central University. He is a gemstone polished by Dr.s Johnny Alston and Linda Kerr Norflett!
As Drama Director, he has directed over 60 plays such as "FAME", "Dreamgirls", "The Wiz", "Bubbling Brown Sugar", "The Captive Grace of Othello", "Mufaro's Beautiful Daughters", "Mama, I Want to Sing", "Hairspray", "Beauty and the Beast", and "Phantom of the Opera".
Mr. Tabb has also directed drama workshops nationally and
internationally in Sydney, Australia, Kenya, East Africa; London, England; Osaka, Japan; Lima, Peru; Rio de Janeiro, Brazil; Gambia, West Africa; St. George's, Bermuda; Los Angeles, California; Santa Cruz, California; and Brooklyn, New York. As an actor, he has appeared on the NCCU stage as West in "Two Trains Running", David in "Tunnels", Charles in "Heart to Heart: Ain't Your Life Worth
Saving?", Lou Parker in "Fascination Man', Seth in "Joe Turner's Come and Gone", and Gabriel in "Fences". Mr. Tabb is a theatre consultant and producer. He has produced such plays as "Black Nativity", "Tambourines to Glory", "Becca", "Cinderah", and "The Gospel at Colonus", featuring Alabama State University. Mr. Tabb received the NC Regional Theatre Conference Excellence in Directing Award eight consecutive years. He is a past recipient of the C.C. Lipscomb State Best Director Award. He has served as an Arts Administration Fellow for the National Endowment for the Arts in Washington, D.C.
Dr. Faison will work with Hillside Drama students on Thursday, Nov. 3, in preparation for their opening of The Wiz. He will also be honored with the annual Trailblazer Award In The Arts during the Opening Night Gala Celebration.
For tickets and more information see: http://www.dpsnc.net/site/default.aspx?PageType=3&DomainID=4&ModuleInstanceID=450&ViewID=6446EE88-D30C-497E-9316-3F8874B3E108&RenderLoc=0&FlexDataID=1644&PageID=1
Contact Hillside High School at (919) 560-3925 ext. 25240 or order online at www.seatyourself.biz/hillside.
See more coverage CBS
http://wncn.com/2016/11/03/hillside-high-drama-students-get-tony-award-winning-advice/
Dr. George FaisonHillside HS DurhamThe WizWendall Tabb
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Little Known Black History Fact: Jeremiah G. Hamilton January 22, 2020
Jeremiah G. Hamilton, the so-called "Prince of Darkness," was a powerful Wall Street broker and considered its first Black millionaire. Hamilton used questionable tactics to amass his considerable wealth and was reportedly despised by both Black and White businessmen. SIGN UP FOR OUR NEWSLETTER: Hamilton was born either in the Caribbean Islands or Richmond, […]
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Here's One Person We Know Will Live On 'Power' [SPOILER ALERT] January 22, 2020
Spoiler Alert: If you are not caught up on "Power" Season 6, read no more as major plot points are revealed below. Fans of "Power" who saw Tommy Egan (played by Joseph Sikora) driving to California at the end of the most recent episode on Sunday can breathe a sigh of relief. He made it. […]
NY Magee, EURweb.com


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Published on August 15th, 2018 | by David Marshall
Episode 93: The History of Palaeontological Outreach
Palaeontology has an ability to grab the public's attention like no other subject. Perhaps it's the size and ferocity of something like a T. rex, or maybe it's the alien nature of something like Hallucigenia. Irrespective of whatever it is that makes the subject interesting to any given individual, it's important because palaeontology is a great gateway into STEM subjects and is, in itself, one of the few ways in which we can understand about the evolution of life and the planet.
But how has the public's perception of palaeontology changed with the times? Was it more popular in its infancy, when huge questions were still left unanswered, or is it more popular now, in the era of Jurassic Park, where animatronics and CGI can bring fossils 'back to life'?
Joining us to discuss how palaeontological outreach has been conducted and received throughout its history is Dr Chris Manias, King's College London. Chris is a historian of palaeontology and founder of 'Popularizing Palaeontology', a network of scholars, scientists, museum professionals, artists, etc. who reflect on trends in palaeontological communication and build future collaborations.
http://traffic.libsyn.com/palaeocast/Ep93.mp3
An example of a museum archive, with folders full of documents. It is within archives such as these that Chris is able to piece back together historical events and perspectives.
An early natural history museum: the Gallery of Palaeontology in Paris, from Albert Gaudry, Les ancêtres de nos animaux dans les temps géologiques (1888). Image from the Biodiversity Heritage Library. Digitized by Harvard University, Museum of Comparative Zoology, Ernst Mayr Library. www.biodiversitylibrary.org
Early-twentieth century interest in dinosaurs frequently revolved around Sauropods. "Children viewing Brontosaurus (Apatosaurus) exhibit, 1927." Image from Research Library | Digital Special Collections, American Museum of Natural History, accessed June 27, 2018, http://lbry-web-007.amnh.org/digital/index.php/items/show/22670.
Discussions at the first Popularizing Palaeontology workshop, held at King's College London, September 2016.
"The Art of Extinct Animals" Pop-up Palaeoart Exhibition at King's College London, December 2017, held as part of Popularizing Palaeontology Workshop 2 (Photography by Katya Morgunova)
Introduction from the first PopPalaeo workshop. Three workshops in total are available here.
Tags: Dinosaur, history, outreach, pop palaeo, poppalaeo, Science Communication
Episode 113: PBS Eons →
In The Field – Polish-Mongolian Expeditions 1963 – 1971 (Part 2) →


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text:
Q: Ajax request to unauthorized action returns login page inside the div MVC 4 I am building ASP.Net MVC 4 application and i have putted [Authorize] attribute at the top of my controller.
When the session is over and i try to trigger an ajax request to a method from that controller the redirect to login page, result from the unauthorized access attempt, is done inside the div. Here is an example ajax i do:
var url = '/Admin/GetData/';
                    $.ajax({
                        url: url,
                        data: { param1: param1, param2: param2 },
                        type: 'POST',
                        datatype: 'json',
                        success: function (data) {
                            $('#myDiv').html(data);
                        },
                        error: function () { alert('Error with loading the data.'); }
                    });

This ajax takes some parameters and executes this method:
        public ActionResult GetData(int param1, string param2)
    {
        if (param1> 0 && param2!= null)
        {
            List<Objects> myData = myRepo.Method(param1, param2);
            return PartialView("_DataTablePartial", myData);
        }

        else
        {
            List<Objects> myData = new List<Objects>();
            return PartialView("_DataTablePartial", myData);
        }
    }

Here is a screenshot of the result.

How can i handle the unauthorized error to redirect the whole page to the login page and not to replace the content of the div with the login page ?

A: I use the following technique in my applications:
Javascript:
/**
    Ajax error registrar, so that ajax requests that are blocked because of an authorization problem result in a redirection to the login page
*/
$(document).ajaxError(function (event, jqXhr, ajaxSettings, thrownError) {
    switch (jqXhr.status) {
        case 401:
            var response = $.parseJSON(jqXhr.responseText);
            window.location = response.returnUrl;
            break;
        default:
            break;
    }
});

C#:
public class UnauthorizedJsonResult: JsonResult
{
    public UnauthorizedJsonResult(string returnUrl)
    {
        Data = new { returnUrl };
        JsonRequestBehavior = JsonRequestBehavior.AllowGet;
    }

    public override void ExecuteResult(ControllerContext context)
    {
        base.ExecuteResult(context);
        context.HttpContext.Response.StatusCode = (int) HttpStatusCode.Unauthorized;
        context.HttpContext.Response.End();
    }
}

public class SomeController : Controller
{
    public ActionResult SomeAjaxCall()
    {
        if( /* some logic */ )
            return new UnauthorizedJsonResult("/login");
    }
}

Or with an authorize attribute:
public class YourCustomAuthorizeAttribute: FilterAttribute, IAuthorizationFilter
{
    public void OnAuthorization(AuthorizationContext filterContext)
    {
        filterContext.Result = new UnauthorizedJsonResult("/login");
    }
}

[YourCustomAuthorize]
public class SomeController : Controller
{
    public ActionResult SomeAjaxCall()
    {
        // logic
    }
}

redpajama_set_name: RedPajamaStackExchange


text:
History of Rock in 100 Songs
100 songs representing the history of rock
Song stats: valence and energy
Influences between bands
Song Stats
Selected band's songs compared to all songs
Network Diagram Proximity shows main band is more similar to gold band than to blue band Size shows main has more connections than blue and gold gold influencer main influencee blue Timeline 1 song 2 songs The lines show main band (together for 7 years) started earlier than gold band (together for 14 years) Song Stats # of songs SadHappy* Selected band's songs compared to all songs * This bar means 15 of the 100 songs are relatively happy
Hide Legend
About this visualization
Rock is one of the most popular music genre's today but where did it begin? The following data visualization shows one facet of this complicated answer. In 2011 the Guardian released a list of 100 songs in their editorial judgement represent milestones in the evolution of rock and roll.
From that list we have added deeper context to the song with information about the artists, and analyses of qualitative attributes like energy level, and happy vs. sad. Trace the influence of bands beginning at the origin, Sister Rosetta Tharpe (1919 - 1973), to modern day groups such as Coldplay (1996 - present).
Visually see the "Golden Age" of Rock as song upon song stack around 1970. Below are sections about this site, where to get the data, and how it was built. We would love to hear feedback. You can reach out on Twitter, or by email. Happy exploration!
Susie Lu
Excited about data visualization and design, Susie is an experienced front-end developer who has spent recent years focussed on data visualization. She draws from her degrees in art and engineering to bring a well-rounded perspective to data science, telling compelling stories with data and visualization.
@DataToViz
John Akred
Before starting any data companies, John co-founded a record label in the early 90's Chicago independent music scene. In addition to authoring data strategies and engineering scalable data systems, John has written, engineered, produced, and released several recordings which at present has yet to make anyone's top 100 list.
@BigDataAnalysis
Silicon Valley Data Science
Silicon Valley Data Science is a big data and data science consulting company that specializes in agile, data-driven development. We're committed to open source technologies, and using data and science for the public good.
We think applications like this can demonstrate how technology, craft, and data can be combined to deliver new perspectives and insight. We don't always get to talk about the work we do for clients, so we're delighted to share this visualization publicly. Please let us know what you think!
@SVDataScience
Get the data
100 songs that are representative of the history of rock
Music Bloodline
Choose an artist and find the bands that influenced that artist, and bands that artist influenced.
Echo Nest
Find data points about a band such as familiarity, news articles, and reviews, and song data such as energy, speechiness, and danceability.
Find data points about a band such as band tracks, last.fm plays, and band photos.
How was this built?
Python + Excel
I switched back and forth from Python and Excel for data exploration and data manipulation.
Mr.Data Converter
A website made by Shan Carter. It is used for converting tabular data into JSON objects. A very simple tool, but it has definitely improved my workflow from data exploration to front-end development.
Gumby + Sass
An open source responsive grid and UI kit. Previously I had been using Bootstrap but I wanted to explore some of the other front-end solutions. Gumby interested me because it was built on Sass, which I also wanted to try.
This is a Model-Collection-View JavaScript library. Backbone creates structure for JavaScript code. I've learned to love Backbone because the organization it provides is indispensable for making an interactive app.
Gephi
An open source network graph visualization tool. This was used to analyze the data from Music Bloodline and see the relationship of bands within the Guardian's selection.
Data-Driven Documents, is a JavaScript data visualization library. D3 has been in my toolkit ever since I started front-end development focused on data visualization. The library's website has many examples of apps built with D3, and the list of examples from the community are extremely helpful.
© 2014 Silicon Valley Data Science LLC, Terms of Use


Many of us frequently share the things we make in Tinkercad, on to Thingiverse. It would be a great traffic driver for Tinkercad, but also make it easier for users which in turn would reduce the friction in sharing our creations. This could be done fairly easily with a "Share on Thingiverse" button that would directly share the items with our Thingiverse accounts.
You can do this already in Tinkercad!!
In the editor, click "Share", then "Thingiverse".


text:
Installable Web Apps Will Be the Next Tech Battleground
Why can't the W3C, Google and Mozilla agree on how to deliver next-generation Web apps online?
Tom Davenportarchive page
A coming wave of "installable Web apps" could make HTML5 the centerpiece of modern app development—but a battle is brewing over who will decide the format that becomes the industry standard.
"Packaged app" formats will let developers wrap applications built in HTML, CSS, and JavaScript as a traditional native download. Customers are unlikely to notice the difference, because while the apps still tap into their browser's processing engine, they won't be caged in a window that was designed for navigating the Web.
The dream for developers, when HTML5 has fully matured, is simple: cross-platform apps that work on any modern device, easy and fast deployment of updates, and, potentially, a direct line to billions of Internet users.
The W3C has proposed an open "Widgets" specification with features that should aid mass distribution, like localization for targeting different regions and digital signatures as a trust mechanism. By virtue of being built on open Web standards, the widget specifications are already compatible with certain smartphones, TVs, and even classroom whiteboards—but the W3C isn't the only one trying to define the de facto Web app format.
Meanwhile, Google and Mozilla are working on their own packaged app initiatives. Both have their own fledgling HTML5 app stores, undoubtedly inspired by the success of Apple's native app store.
To their credit, Mozilla promises an open API so indie developers can experiment with new ways to deliver from the Firefox Marketplace, which may stir innovation. Mozilla's recent investment in dynamic app platform Everything.me could also be indicative of its ambitions for Firefox OS. It's too early to gauge Google's strategy, but it is quietly curating an impressive collection of Web apps, designed for its Chrome browser, in the Chrome store.
Bruce Lawson, a web evangelist for Opera, wishes the competitors would collaborate on one interoperable specification, and told me that the dozen or so proposed alternatives seem unnecessary.
"Why do they all have formats?" he said. "The answer is, of course, everyone wants to do it their own special way and encourage developers into their ecosystem. If you were cynical, you'd say 'lock people in.' But I'm not cynical."
Neither Google nor Mozilla responded to my request for comment.
Perhaps I'm a bit more cynical. Free-market advocates might defend companies taking part in this kind of digital arms race, but the Internet always prospers when people work to the same standards. The collaborative effort on HTML5 proves this; by working to a common specification, browser vendors were left to compete on performance and implementation—user-facing factors that improve the overall experience.
There's a chance that Web apps will be a lasting format, so it ought to live up to the ideals of the Internet. On the other hand, as XKCD explains, there may be no going back now.
by Tom Davenport
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The Download: the Saudi sci-fi megacity, and sleeping babies' brains
This is today's edition of The Download, our weekday newsletter that provides a daily dose of what's going on in the world of technology. These exclusive satellite images show Saudi Arabia's sci-fi megacity is well underway In early 2021, Crown Prince Mohammed bin Salman of Saudi Arabia announced The Line: a "civilizational revolution" that would house up…
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During rainy seasons, having pakoras and tea is heavenly. However, here is a new recipe which will beat your pakoras twice.
This recipe is filled with potatoes but mashed once, so you have all the independence of adding your flavors of filling to go with potatoes be it cottage cheese (paneer) or any vegetables.
Besani aloo tikki tastes the best when served with evening tea along with some chutney.
Take the besan in a bowl.
Add salt and 1/2 teaspoon red chilli powder.
Add salt, 1/2 teaspoon red chilli powder, chopped green chillies, garam masala, grated ginger, curry leaves and green coriander leaves.
Heat oil for deep frying in a pan.
Dip each ball in the besan batter and coat nicely.
Deep fry till only half cooked. The color should be light yellow only.
Drain in a sieve and set aside for sometime.
Remove on tissue paper so that excess oil is extracted.
Serve with Pav and mint-tamarind chutney.


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The Knicks strategy sparking early Kevin Knox revival
Peter Botte
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Ex-Knicks bust holds no grudge: 'Had my fair opportunity'
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Kevin Knox's father: 'Puzzling' why son didn't get more minutes
Entering his third NBA season, it's easy to forget that Kevin Knox is younger than the Knicks' 2020 first-round pick, Obi Toppin.
The 21-year-old forward still is striving to achieve the consistency that has eluded him over his first two years in New York, but Knox provided lights-out outside shooting for a second consecutive preseason game with 20 points off the bench in Friday's 119-83 win over the Cavaliers at the Garden.
Including the fourth quarter of the Knicks' previous victory over Cleveland two nights earlier, Knox has buried nine of his last 10 3-point attempts.
"Looking at his career, when he's taken good shots, he's always made them. Or at least had a good chance to make them," Knicks coach Tom Thibodeau said. "And when he's eliminated the tough shots, it makes him a much better player. He plays with a lot more energy defensively.
"But I want him to get himself going — with his defense first, running the floor, rebounding and then spacing the floor. And then I thought our guys did a great job of penetrating and finding him. I thought the rim reads were great. Kevin has worked extremely hard to get himself ready for the season."
Kevin Knox shoots a jump shot for the Knicks
Knox, the Knicks' 2018 lottery pick (ninth overall), enjoyed a promising rookie season, with averages of 12.8 points and 28.8 minutes per game over 75 appearances. But the former Kentucky star's playing time (17.9 minutes per game) and scoring (6.4 points per game) dropped significantly in his sophomore season.
Knox started strongly last year, with double figures in points in seven of his first 11 games, but he netted 10 or more points in just eight of his final 54 appearances.
After having little impact on the Knicks' first two preseason games against the Pistons, Knox was 4-for-4 from the field in the fourth quarter of Wednesday's comeback win over the Cavaliers. He then hit seven of 10 shots (including 6-for-7 from long range) in Friday night's blowout against the Cavaliers in the team's final tune-up before Wednesday's regular-season opener at Indiana.
"Just playing with energy, moving without the basketball, and I'm doing a really good job of just finding the open spots on the floor," Knox said. "My teammates always come to me asking me how I'm always open.
"I just continue to move without the basketball, cut, space the corners, find open gaps, and like I said, really doing a good job of my teammates finding me open … and being ready to shoot before the ball even gets there, being prepared. I've been working on all of that all summer."
Christmas carols for a wild year in New York sports
With a new coaching staff — and especially coming off a rocky 2019-20 campaign — Knox acknowledged it was important for him to have a strong preseason showing, especially on a roster clearly in need of a consistent outside threat.
"It's good, it's always good to see the ball go through the net," Knox said. "But with preseason over now, starting Wednesday we get the real games going, so I want to continue to get the work in, watch a lot of film, get a lot of shots up.
"It was great to see the ball go through the net these last two games, and hopefully I can continue with that confidence and play with it consistently like I've been playing."
Read Next NBA star shocks fans with 'disgusting' act during game


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Dennis Rodman checks into alcohol rehab following North Korea trip
by yiningsu
Dennis Rodman has reportedly checked into an alcohol-rehabilitation center on the return of his most recent trip to North Korea, where he and his ragtag team of ex-NBA stars performed in an exhibition match for Kim Jong-un's birthday.
"Dennis Rodman came back from North Korea in pretty rough shape emotionally. The pressure that was put on him to be a combination 'super human' political figure and 'fixer' got the better of him," Rodman's agent, Darren Prince, said in a written statement on Sunday. "He is embarrassed, saddened and remorseful for the anger and hurt his words have caused."
Prince said that Rodman is now at a facility in New Jersey with a "28- or 30-day program". A source close to the former NBA player told CNN that he had checked in on Wednesday.
"His drinking escalated to a level that none of us had seen before," Prince said.
Before his most recent DPRK trip, Rodman came under fire for a babbling response he made while being interviewed on CNN when questioned about Kenneth Bae, the US citizen currently imprisoned in North Korea on charges of planning to overthrow the government.
He soon after apologized in a statement, saying that he was under a great amount of pressure and that it had led to him drinking before the interview.
"I want to apologize," Rodman said. "I take full responsibility for my actions. It had been a very stressful day. Some of my teammates were leaving because of pressure from their families and business associates. My dreams of basketball diplomacy was quickly falling apart. I had been drinking. It's not an excuse but by the time the interview happened I was upset. I was overwhelmed. It's not an excuse, it's just the truth."
He made his return to North Korea to take part in an exhibition match and even sing "Happy Birthday" to li'l Kim.
Rodman was immediately met by crowds of press in Beijing when he stepped out at the airport, and when questioned about Bae, Rodman apologized and appeared to have broken down in tears.
"I'm sorry I couldn't do anything," Rodman said when questioned about Bae yesterday. "I'm not the president. I'm not an ambassador…I'm Dennis Rodman, an individual that's showing the world that we can actually get along and be happy for one day."
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Janie Geiser: Artist's Talk
A multidisciplinary artist whose practice includes performance, film, installation, puppetry, and painting, Janie Geiser, from the School of Theater, CalArts, and internationally recognized films are known for their recontextualization of abandoned images and objects, their embrace of artifice, and sense of suspended time. In this illustrated talk delivered on May 11, 2019, Geiser explores her most recent films and performances with an emphasis on her collaborative processes and methodologies.
Rajiv Vaidya Memorial Lecture 2017: Agnès Varda and the Art of the Documentary
Kelley Conway, historian. In the December 3, 2017 Rajiv Vaidya Memorial Lecture, historian Kelley Conway, professor in the department of communication arts at the University of Wisconsin – Madison, explores French filmmaker Agnès Varda's career and her documentary practice. Varda is often associated with the French New Wave but her importance really transcends that historical moment. Through clips from some of Varda's most iconic work from the 1960s to the present, Conway explores notions of subjectivity, representation, and voice in the nonfiction flims of one of the world's greatest living auteurs.
Rajiv Vaidya Memorial Lecture 2018: Noisy Archives and the Future of Memory
In the December 2, 2018, Rajiv Vaidya Memorial Lecture, Rick Prelinger, archivist and founder of the Prelinger Archives – a celebrated repository of home movies and ephemeral films –explored the particular difficulties contemporary archivists (film, media, and paper) must contend with today: historical amnesia, uncertain funding, technological change, and the flow from a relentless digital fire hose. Prelinger looks at the future of memory, the renaissance of physical media, the virtues of inconvenience, and how archives and cultural repositories can serve as a force for inclusion.
Chartres: Light Reborn
Panel discussion with Madeline Caviness, Mary Richardson Professor Emeritus and professor emerita of the history of art, Tufts University; and Ellen Shortell, professor of the history of art, Massachusetts College of Art and Design. Remarks by Dominique Lallement, president, American Friends of Chartres.
The partial restoration of Chartres Cathedral that took place from 2014 to 2016 focused on the nave, stained-glass windows, and first figures in the ambulatory. Chartres: La lumière retrouvée documents this meticulous process through observation and conversations with numerous restorers, archaeologists, scientists, and architects (Anne Savalli, 2016, subtitles, 54 minutes). On November 25, 2018, the National Gallery of Art hosted the Washington premiere of the documentary, which was introduced by Dominique Lallement, president of the American Friends of Chartres. Afterward, Madeline Caviness and Ellen Shortell joined in conversation to discuss the importance and impact of this renovation, as well as the complexities of this 2-year restoration project. This program is held in collaboration with American Friends of Chartres and the Embassy of France.
Stanley Kubrick: The Irony of Feeling
Robert P. Kolker, emeritus professor, department of English, University of Maryland, and adjunct professor of media studies, University of Virginia. Stanley Kubrick's films have occasionally been criticized as seeming cold or distant. The images and the stories they tell, however, speak another narrative of deeply held, ironically expressed passion, a level of feeling that the viewer has to seek out and be open to. In this lecture held at the National Gallery of Art on September 2, 2018, acclaimed film scholar Robert P. Kolker illustrates, through numerous clips, that Kubrick's films often reference specific works of art. The presentation celebrates Kolker's publication of The Extraordinary Image: Orson Welles, Alfred Hitchcock, Stanley Kubrick, and the Reimagining of Cinema, an exploration of how movies work, what they mean, and why they bring us so much pleasure. Reflecting on a lifetime of teaching and writing on these filmmakers, in The Extraordinary Image Kolker offers a deeply personal set of insights on three artists who have changed the way he understands movies.
Ingmar Bergman and the Visual Arts
David Gariff, senior lecturer, National Gallery of Art. The films of Ingmar Bergman (1918–2007) display a broad formal range and expressionistic style. The director's devotion to theater and music and his gift for working with an ensemble of actors who routinely probe complex issues of morality, death, and faith are well known. Less often discussed is his debt to the visual arts of painting, sculpture, and architecture. As part of a global celebration of the centennial of Bergman's birth, senior lecturer David Gariff explores the relationship between the director's film language and the wider visual arts in this July 29, 2018, lecture at the National Gallery of Art.
Avant-Garde to Underground: Outliers and Film
Lynne Cooke, senior curator, special projects in modern art, National Gallery of Art, and James Benning, artist. On April 29, 2018, curator Lynne Cooke spoke with artist James Benning about his media artwork, including the video installation Stemple Pass, shown in the exhibition Outliers and American Vanguard Art, as well as his film measuring change (2016, HD, 61 minutes), screened as part of the film series Avant-Garde to Underground: Outliers and Film, Part 2, in conjunction with the exhibition.
Affinities, or the Weight of Cinema
The film series Affinities, or The Weight of Cinema was cocurated and presented in person by filmmaker Kevin Jerome Everson and writer Greg de Cuir Jr. at the National Gallery of Art in January 2018. Eight programs of international works of film and video art were arranged along various thematic lines that corresponded to the cocurators' shared interests and concerns. In this podcast, the cocurators discuss their methods and two of the guest artists, Claudrena Harold, professor of African American studies at the University of Virginia, and artist Akosua Adoma Owusu, discuss their films selected for the series.
Projections of Memory: Romanticism, Modernism, and the Aesthetics of Film
Richard I. Suchenski, associate professor of film and electronic arts and director of the Center for Moving Image Arts, Bard College; and editor, Hou Hsiao-hsien. In this lecture recorded on September 3, 2017, at the National Gallery of Art, Richard I. Suchenski discusses his book, Projections of Memory: Romanticism, Modernism, and the Aesthetics of Film—an exploration of innovative cinematic works that use their extraordinary scope to construct monuments to the imagination through which currents from the other arts can flow. By examining these works, Projections of Memory remaps film history around some of its most ambitious achievements and helps to clarify cinema as a twentieth-century art form. Suchenski addresses some of the core concerns of the book through a discussion of films by Andrei Tarkovsky, Béla Tarr, and Jean-Luc Godard alongside paintings by Caspar David Friedrich, Jacopo Tintoretto, and Matthias Grünewald.
Jean Desmet's Dream Factory, 1906 – 1916
Elif Rongen, curator, EYE Film Institute, Amsterdam. Belgian-born film impresario Jean Desmet (1875 – 1956) spurred the growth of a new urban film culture in Europe before and during World War I. Desmet's collection of 35mm prints and related materials (including posters, handbills, correspondence, and other ephemera) is now a vast visual-historical archive preserved at the EYE Film Museum in Amsterdam. In 2011 the Desmet collection was inscribed on UNESCO's Memory of the World register — one of the few film collections in the world to receive this designation. On January 14, 2017, EYE film curator Elif Rongen introduced Up in the Air!, the first program of short films from the Desmet collection for the six-part NGA film series Jean Desmet's Dream Factory, 1906 – 1916.
Technicolor at 100: The Road to Color Film Production
James Layton, manager, Celeste Bartos Film Preservation Center, The Museum of Modern Art; David Pierce, founder of Media History Digital Library and president, Sunrise Entertainment Inc. Color was an integral part of early cinema, with tinting, toning, and other processes adding imaginative dimension to black-and-white images. In this Rajiv Vaidya Memorial Lecture recorded on December 6, 2015, James Layton and David Pierce, authors of The Dawn of Technicolor, 1915–1935, illustrate the efforts of Technicolor to give filmmakers tools to present naturalistic color on the screen, even as the company was striving to overcome countless technical challenges and persuade cost-conscious producers of color's virtues. Rare photographs from the Technicolor corporate archive chart the development of the early two-color process and the new aesthetic color photography required for lighting, costumes, and production design. Three early Technicolor shorts preserved by the George Eastman House followed the lecture: Manchu Love (1929), The Love Charm (1928), and Sports of Many Lands (1929).
Don Perry | nga
Don Perry, producer. Thomas Allen Harris's 2014 documentary film Through a Lens Darkly: Black Photographers and the Emergence of a People investigates black portrait photographers and artists who have profoundly reshaped the image of contemporary and historic African Americans, and continue to do so. Don Perry, who coproduced and cowrote the film with Harris, visited the National Gallery of Art on May 31, 2015 to introduce and speak about Through a Lens Darkly.
Jennifer Reeves | nga
Jennifer Reeves, featured artist. Filmmaker Jennifer Reeves visited the National Gallery of Art on May 30, 2015, to introduce her film The Time We Killed (2004), a feature-length, experimental narrative that delves inside the mind of an agoraphobic writer unable to leave her New York apartment in the wake of the events of September 11, 2001. In this talk, Reeves discusses her approaches to filmmaking and the specific ways in which this feature addresses themes of memory, mental health and recovery, feminism, sexuality, and politics.
Saving the Baldwin Film
Karen Thorsen, director of James Baldwin: The Price of the Ticket, and cowriter Douglas Dempsey discuss the making of their award-winning documentary, the challenges of restoring the original 16 mm film elements, and the necessity of ensuring access to this powerful film during the digital age. Produced in association with Maysles Films and PBS/American Masters, The Price of the Ticket premiered in 1990 at Sundance and went on to win numerous awards at home and abroad. An emotional portrait, a social critique, and a passionate plea for human equality, its extensive vérité footage allows Baldwin to tell his own story: exploring what it means to be born black, impoverished, gay, and gifted in a world that has yet to understand that "all men are brothers." "On-camera witnesses" include the late Maya Angelou (she reads passages from the author's writings), Amiri Baraka, David Leeming, Bobby Short, and William Styron. Now considered a documentary film classic, The Price of the Ticket has been restored with the help of the Ford Foundation, Maysles Documentary Center, National Endowment for the Arts, and Stan and Joanne Marder. This conversation and the world premiere of the film's restoration took place on October 12, 2014, at the National Gallery of Art. This program was supported by Dr. Darryl Atwell and Dr. Renicha McCree to honor the 90th anniversary of the birth of James Baldwin (1924–1987), American essayist, novelist, playwright, poet, and activist.
Paris to Fort Lee: French Filmmakers and the American Industry
A centennial screening of the 1912 film Robin Hood and rare presentation of the Maurice Tourneur film Alias Jimmy Valentine (1915) with live piano accompaniment are introduced by film historian Richard Koszarski, author of Fort Lee, the Film Town and Hollywood on the Hudson. Koszarski's presentation outlines the influence of French culture on early cinema production and investigates the history of the studios, the directors, and the stars established in Fort Lee, New Jersey, known as the "birthplace of the motion picture industry."
American Originals Now: Jem Cohen: Curious Visions
The new ongoing film series American Originals Now focuses on the work of internationally recognized filmmakers from the Americas, and offers visitors an opportunity to interact with and share in the artists' production methodologies and current practices. The inaugural program brought recent short works by filmmaker Jem Cohen and a screening of his award-winning 1999 documentary Instrument, made in collaboration with DC-based band Fugazi. Cohen was present for both events; during the latter of the two he was joined by Fugazi frontmen Ian MacKaye and Guy Picciotto
"The Life and Times of Allen Ginsberg" with director Jerry Aronson
The award-winning film The Life and Times of Allen Ginsberg offers a fascinating portrait of a poet and photographer who helped define postwar American counterculture. Originally released in 1994, Jerry Aronson's documentary was rereleased in 2005 with additional hours of interviews with numerous contemporary artists and cultural figures, among them Andy Warhol, Patti Smith, and Norman Mailer. Two screenings of the film were held at the National Gallery of Art in September 2010, and the new edition of the two-disk set is available through the Gallery Shop.
New Masters of European Cinema: Everlasting Moments by Jan Troell
Veteran Swedish director Jan Troell has been called one of the world's greatest living filmmakers. As part of the ongoing series New Masters of European Cinema, the director and his partner/screenwriter Agneta Ulfsäter-Troell visited the National Gallery of Art to discuss their latest project, the award-winning feature film Everlasting Moments (2008), and to share a rare screening of Troell's remarkable first short film Stop-over in the Marshland (1965), starring Max von Sydow.


Diamond rings decide up fairly some dust and grime above the weeks and months they are on your finger and cleaning your diamond in get to bring it back to its first sparkling self is not as straightforward as it may well seem as certain safety measures need to be taken prior to proceeding.
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Possessing carried out this there is a single a lot more important phase to just take and that includes methylated spirits.
Place the ring in a modest receiver made up of some methylated spirits for fifteen seconds, then wiggle it a bit within the answer in buy to produce movement. The diamond ring is then dried employing the kitchen area towel or tissue once again.
The methylated spirit will revive the brilliance of the steel and it will yet again glow and it will take away any 'haze' effect left by the liquid detergent, giving the diamond that further sparkle it deserves.
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Underneath no conditions have to any hard objects be utilized to pry into the orifices of the ring nor anything tougher than the bristles of a toothbrush as in any other case there is a threat of even more scratching to the steel of the ring.
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Home > Insights > Implied oral terms to employment contracts
Implied oral terms to employment contracts
The importance of having a properly drafted contract of employment.
The recent case of Prometric Ltd v Cunliffee [2016] has once again affirmed to us the importance of having a properly drafted employment contract that can be relied on should issues around the terms arise at trial.
Prometric Ltd v Cunliffee [2016] saw an employee unsuccessfully claim on appeal that he was contractually entitled to a pension scheme due to an oral conversation without confirmation in writing. The Claimant had been an HR director with firm A in which he had a membership of a defined contribution pension scheme. In 2000, firm A was taken over by firm B and the Claimant was admitted to its more generous defined benefits scheme. Firm B was then later taken over by firm C in 2007. The Claimant lost his entitlement to firm B's generous scheme but became entitled to C's scheme. He claimed breach of contract by firm C because he had been assured by what he believed to be an implied oral term in 2000, that with his seniority he was now entitled to firm B's more generous scheme. The argument was that firm C's scheme should be of equivalent stature to the terms of firm B's more generous scheme.
The Respondent, firm C, had applied to have the claim struck out however was refused. On appeal, however, the judge held 'It was inconceivable that the respondent's claim would succeed at trial. On subjects as complex as pensions, business people did not enter into oral agreements. If they did, they would certainly confirm them in writing.'
Therefore we have once again learnt the importance of having a properly drafted employment contract that clearly sets out express terms by which an employee is bound by. It is clear that a drafted contract is far more likely to adhere to what a court would deem satisfactory. Brachers can help you with drafting and legal implications around employee contracts. If you would like to talk to us about any of these issues, please contact Catherine Daw, Head of Employment on 01622 690691 or email at catherinedaw@brachers.co.uk.
Catherine Daw


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*Click here to learn more about IHYT & why IHYT is so effective & so important in healing.
"Try to change behavior using logic and willpower, but that will never overpower a strong contradictory believe in the subconscious.
Change the subconscious believe and the behavior will take care of itself! ~ Marisa Peer"
Ryoko Suzuki, MS, CHyp, RTT, LMT, CSYT: Ryoko was very fortunate to have begun studying Rapid Transformational Therapy (RTT) in June, 2016 as a member of the very lucky Pioneer Online Group. She has also trained with Marisa Peer personally in the LIVE RTT course in Los Angeles, CA in November 2018. Ryoko has become the first Japanese RTT therapist and the first RTT therapist who started offering RTT therapy in the state of TN She continues to use RTT in a very skillful and exploratory way following extensive training, ongoing support and supervision by Marisa.Ryoko is a gifted & skillful holistic therapist, Certified Hypnotherapist, Certified Advanced Svaroopa® yoga therapist, Vichara therapist (Yoga Therapy of the Mind), Authorized meditation teacher, and inspirational life coach. For over 20 years, Ryoko has been helping people heal, transform their lives, and discover their true potential. In addition to being the long-term meditator who has been exploring the inner realms of Consciousness under the guidance of Swami Nirmalananda Saraswati, Ryoko's extensive background in Western medicine and Eastern healing modalities makes her RTT very unique, powerful, and effective. She will guide you and hold space for your powerful transformation. With Ryoko's presence, you will discover ease in your session… you will be able to easily and effortlessly connect to your amazing innate wisdom and inner ability to heal.
Are you ready to make positive changes in your life? Contact Ryoko to schedule your FREE 20-minute discovery session. Let's empower you and transform your life! Ryoko lives in Nashville, TN. She is available for in person or ZOOM/Skype sessions worldwide.
(To learn more about Ryoko, click here).
Marisa Peer is a world renowned speaker, therapist, and best-selling author with over three decades of experience, and the founder of RTT. Named Best British Therapist by Men's Health magazine and featured in Tatler's Guide to Britain's 250 Best Doctors, she uses her experiences treating patients including rock stars, CEOs, elite Olympic athletes, royalty and Oscar-winning actors to inform her life-changing speeches and lectures. She has been voted best speaker at numerous conferences including The Mastermind Group London, the Women in Business Superconference and Awesomeness Fest 2015.
I recently tried RTT with Ryoko because I have had chronic pain and fatigue from lupus, rheumatoid arthritis, and a car accident for over a decade. I had pain in most of my joints that was relieved partially by Integrated Healing Yoga Therapy, Svaroopa yoga, and medications, but the pain in my left shoulder persisted through every treatment I tried. I have also had problems sleeping for my entire life. The RTT session immediately put me into a deeply relaxed state and helped me to discover when and why my health problems started. It uncovered emotions that I did not know I had been holding onto for a long time. During the session, my left shoulder felt pain free for the first time in 11 years. Immediately after the session, I felt like a great burden had been lifted from me, and I felt a sense of freedom. Since the RTT session, and with daily listening to my personalized self-hypnosis recording, my pain levels have been lower than they have ever been since I was diagnosed with lupus and rheumatoid arthritis. The RTT session and recording have taught me to relax my shoulders in a way I have never been able to previously. Listening to my recording every night before bed has helped me to relax and fall asleep more easily while teaching me that I have the ability to heal myself and relieve my own pain. I would highly recommend RTT to anyone with chronic pain, chronic illness, anxiety, or sleeping problems, who is ready to learn how to heal themselves.
The recording was very helpful in cementing the positive attitude I needed to go into this second eye surgery. I feel that I had established a positive attitude prior to receiving the recording, but I also find that it would have been difficult to maintain this attitude without some help and Ryoko provided just what I needed to maintain the positive attitude. Listening to the tape prior to the surgery and for 21 days after surgery really helped me to maintain that positive attitude about this second cornea that I received will be and was the right one for me.
The differences in my healing process from one surgery to the other was remarkable. The healing process for the first surgery took over 3 months to just get to a point that I was able to drive just during daylight hours and only in familiar places. I went through at least 2 rebubbles trying to get the cornea to lay flat onto my eyeball. Because it did not lay flat, my eyesight was distorted and I never got to a point that I could even read a good book, which I missed terribly. The healing process for the second surgery with the recording was nothing short of a miracle. Within one week, my eyesight was as good as it was after 3 1/2 months with the first cornea transplant. My eyesight continues to improve every day and I expect I will be at my optimal eyesight within 3 months.
RTT is endorsed by the General Hypnotherapy Register, the Complementary and Natural Healthcare Council, the National and International Council of Psychotherapists, the American Board of Hypnotherapy, the International Association of Complementary Therapists, the International Institute of Complementary Therapies and many other International bodies.


The tax collection area of the Cabo San Lucas municipal offices has been very busy in early 2017, with residents lining up to pay their property taxes in response to an invitation made by Los Cabos Mayor Arturo de la Rosa Escalante. In the last days of December the mayor announced that property owners who would pay their property taxes in the first quarter of 2017, could take advantage of attractive discounts approved by the Los Cabos Municipal Council. The Municipal Council has approved this measure in part to reward property owners for paying their taxes in full and on time by easing their property tax burden, and in part to help streamline the tax collection process.
Arturo Osuna Olivas, a Cabo San Lucas tax collector, mentioned that the Cabo San Lucas municipal office has had an excellent turnout of property owners paying their taxes, eager to take advantage of the discounts on offer. The discounts were 20% for those who paid their property taxes in January; 15% for payments made in February; and 10% for property taxes paid in March. Osuna also mentioned that in order to get these discounts the property taxes for 2016 must be fully paid. Last week Francisco Garcia, Municipal Delegate for Cabo San Lucas announced that owners who were behind on their property tax payments could take advantage of a 15% discount if they bring their taxes up to date before the end of January.
The property tax, or predial, in the municipality is already quite reasonable at roughly 0.1% annually of the assessed value of the property. Add to that a discount of up to 20% and it's no surprise to see property owners lining up at the municipal office to pay their property taxes. Property tax bills are not mailed out, nor sent by email, so property owners will have to go down to the municipal office to receive their bill and pay their taxes. It is really quite easy to find the municipal office in Cabo San Lucas, right by the Red Cross, the newly renovated Municipal building known as Delegación has a large parking lot and there is a relatively easy process to learn the amount due, and then even pay onsite. Residents can present their lot identification number referred to in Mexico as "Clave Catastral" they will then receive the amount owed for 2017. At the collections window, residents can pay with cash in Mexican Pesos or with US or Canadian credit/debit cards and walk out with their 2017 payment receipt.
In fact, if owners have their Clave Catastral, through the link below residents can pay and receive their receipt by email. This option can be done from Los Cabos or abroad of course. Paying property taxes in Los Cabos is truly easy nowadays, as it should be, but longtime Cabo residents know, this was not always the case. The newly streamlined system and procedure makes it not only simple, but provides a great incentive for owners to pay their property taxes early.
For more information Residents can also follow social media channels for Los Cabos Municipality news and visit their official website.


text:
Gender Equality and the Local Self-Government
The studies Gender Equality and the Local Self-Government
have emerged as a result of the concerted efforts of Akcija Zdruzhenska and the
activists from Bitola, Kumanovo, Veles, Sveti Nikole and Debar aimed at
providing a more comprehensive overview of the existing policies and practices
of the local authorities that treat gender inequality.
The aim of these studies is to raise the issue of gender
equality in the municipalities of the Republic of Macedonia in the context of
the process of decentralization (deconcentration, delegation, devolution) of
authority, responsibilities and assets of the local self-government units. It
entails several actions:
To review the manner, that is, the existing policies
and practices embedded in the approach to gender equality, with a
particular emphasis on the status and position of women in the
municipalities (political will, special bodies and commissions,
strategic documents, manners of information on the status and position
of women and men in all living spheres);
To analyze the new organizational and management
structures that respond to the transformations of local self-government,
initiated by the decentralization process, and
To present the existing strategic approaches to the
issue of gender equality elaborated in theories and by international
organizations, such as the United Nations or the European Union.
According to the above stated tasks, the issue of gender
equality in municipalities is to be raised in an entirely different manner so as
to reflect the newly emerging circumstances in the functioning of the local
authorities. Before the real application of the Local Self-Government Law, that
is, preceding the local elections in 2005, and after the establishment of the
local self-government units and bodies in accordance with the Law on Territorial
Organization of the Local Self-Government in the Republic of Macedonia, a number
of conferences, seminars and meetings were held and numerous so-called manuals
were published discussing decentralization, the new responsibilities and the
organizational posture of municipal management. It was the issue of gender
equality that was missing in the framework of all these events. With the
exception of certain traces of concern and the introduction of the plan of the
Section for Gender Equality in the Ministry of Labour and Social Policy, the
issue of gender equality did not draw major attention.
The municipalities are facing the challenge to treat gender
equality in a fashion appropriate to the new role of local self-government. In
this context, these studies offer a sufficiently broad framework that will allow
the relevant actors, the responsible municipal authorities, the political
subjects, the non-governmental organizations and the citizens of the
municipalities to step out of the existing practice in order to:
Reinvestigate the assumptions and positions that
serve as the basis in the promotion of gender equality;
Reinvestigate the relations with the central
authorities in the framework of the actions they undertake in the sphere
of equality, and
Reorganize the structures for action, in line with the new
management processes.
The concept of the study is focused on several issues that
involve topics related to gender equality, including:
How to create a policy on gender equality, that is, a
policy on gender balanced development in the municipalities?
How to develop methodologies for gender analysis of the local
sector policies?
How to identify indicators for data collection,
analysis and processing relevant for gender analysis of the local
policies?
How to identify the needs and priorities for gender
balanced development of municipalities?
However, the studies are not prejudiced to provide a complete
answer to these questions; on the contrary, they are designed to help the
critical review of what has been done heretofore in the sphere of gender
equality, to offer elaboration of the strategic approaches to achieving gender
equality and to call for transformation of the management processes and
development of sector policies. The offered recommendations represent possible
guidance on this road.
The publications are available only on Macedonian.