The small island of Guam could very well be the first U.S. territory to legalize recreational cannabis in 2019. Yesterday, the Guam Senate voted to pass a bill that will now head to the Governor's desk to get signed into law. It was a very close vote with 8 senators voting in favor and 7 senators voting against the resolution.
The proposed bill will allow adults 21 and over to possess, consume, grow and buy certain amounts of cannabis from licensed dispensaries. Every sales transaction would be subject to a 15% cannabis excise tax that would generate revenue to help with substance abuse treatment, law enforcement, and agriculture programs.
Getting this bill passed was no easy task and their were several hearings that led to quite a few amendments being added to the legislation. As part of the amendments lawmakers decided to prohibiting marijuana dispensaries from operating within 1,000 ft of schools and playgrounds, mandating an economical study and changing how tax revenue would be allocated. Fortunately, these compromises resulted in an approval and now it's just up to the Governor of Guam to make it official.
This is a big move for such a small island and they will soon join the Commonwealth of the Northern Mariana Islands, which legalized recreational cannabis in 2018. This will improve access for those who need it and possibly attract more visitors to the islands.
An added benefit will be the stimulation of the local economy in Guam. Legalizing recreational cannabis will create new jobs in every aspect of the industry and encourage tourism. Entrepreneurs can start planning on how they will build their business and secure financial investment. Recreational marijuana dispensaries will need a comprehensive cannabis software to be ready for the green rush in Guam.


This Lancashire jeweller made good use of a small floorspace.
If you want tips on how to work a small retail space well Saray Layton in Whalley, Lancashire, is a good point of reference.
This jewellery and watch retailer's clever use of cabinets and vertical seating area packs a lot in without making the space feel cluttered.
However, micro spaces are not something that Sarah Layton has to worry about now because shortly after this picture was taken the orange wall was knocked down and the store tripled its floor space allowing for more units, including a Georg Jensen shop-in-shop area.
This edition of Store Envy was taken from the June 2012 issue of Professional Jeweller magazine. To make a suggestion for future Store Envy features please email info@professionaljeweller.com.


Mr. Frank continues teaching through the major stories in the Bible. The students will be encouraged to grow in godliness and to trust in God's plan. They'll learn that in good times and hard times, our faithful God is always with us, helping us to grow.
Children's Church is available during the worship service for children from age four through fifth grade. Older children remain with their parents during the service.


text:
Home » Blogs » Charles Gaba's blog » "the minimum necessary"
"the minimum necessary"
via Robert Pear, New York Times:
A Trump administration official said Wednesday that the administration wanted to stabilize health insurance markets, but refused to say if the government would promote enrollment this fall under the Affordable Care Act or pay for the activities of counselors who help people sign up for coverage.
The official also declined to say whether the administration would continue paying subsidies to insurance companies to compensate them for reducing deductibles and other out-of-pocket costs for low-income people. Without the subsidies, insurers say, they would sharply increase premiums.
The administration, the official suggested, will do the minimum necessary to comply with the law, which Mr. Trump has called "an absolute disaster" and threatened to let collapse.
...The official said the Trump administration had not set any numerical goals for sign-ups under the health care law, and the official did not know if the administration would do so. President Barack Obama used such goals to motivate a small army of counselors, "navigators" and assistants who helped millions of people sign up for insurance in the last four years.
...The Trump administration official spoke to about 20 journalists on Wednesday on the condition of anonymity, evidently because major decisions had not been made. The fifth annual open enrollment period, when people can sign up for insurance or switch plans, will run from Nov. 1 to Dec. 15, about half as long as the last one.
Asked if the Trump administration wanted the public marketplaces to succeed, the official did not answer directly.
In short: Trump/Price don't have to ACTIVELY sabotage the ACA, they can cause plenty of damage by simply doing NOTHING AT ALL.
I love how this story goes out of the way to make it obvious who the anonymous administration official is. https://t.co/t6Jb2ztBfz
— Jeffrey Young (@JeffYoung) August 31, 2017
Young is referring here to the fact that the NY Times story quotes the "anonymous" official as stating that she's "a mom with two kids", noting that CMS Administrator Seema Verma happens to have two children.
Basically, as Anne Paulson notes in the comments below, this amounts to the head of the Centers for Medicare & Medicaid flat-out stating that the Trump Administration intends on sabotaging the ACA as much as possible this fall, which isn't particularly shocking but is still worth noting for the record.

redpajama_set_name: RedPajamaCommonCrawl


Email your resume to owner, Emily Davis IN ADDITION to completing the below application.
(All new hires are required to provide proof of eligibility to work in the U.S.). A conviction will not necessarily disqualify you for employment. If yes, list convictions that are a matter of public record (arrests are not convictions). Include type of crime and conviction in the space at the end of this application.
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Did you email a copy of your resume to emily@fleetfeetws.com?
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Hi everyone x It's been a couple of days but I'm back with my June empties post. I'm glad to see the back of June if I'm honest, it's being a very stressful, rubbishy, up and down sort of a month. A slight case of the sniffles developed into a full on chest and lung infection that I'm still trying to get rid of, and that I've have subsequently passed on to my mum. Throw in the fact that the bathroom fitters turned up pretty much unannounced last week and left us without a bath or shower for over a week and you'll get some idea of where I'm coming from.
It's been a tough couple of weeks, and circumstances have not only affected my blog but they've also affected June's Trimming My Stash.
I did manage to finish two bath products and a few Lush and Bomb Cosmetics pieces, but due to the bathroom fitters turning up at least a week ahead of schedule, I ran out of time to finish all my bath things and I've been left with a few bottles of bubble bath. I should be able to use the majority of them as shower products though so hopefully nothing will go to waste.
So what were the products that I finished in June and what did I think of them?
I'm a huge fan of these Avon Bubble Baths, they are really affordable, and they come in a variety of permanent and limited edition fragrances. This one was a full litre size of the Violet Bubble Bath. When I first used it I was a bit disappointed as it wasn't the strong Parma Violet fragrance that I'd anticipated but on reflection it was still a nice product with a pleasant violet aroma, without being too strong or too sweet. I think this was one of the limited edition fragrances but it's always worth taking a look at these when you see them in the brochure no matter what the fragrance. They are great value for money and they do exactly what you'd expect from a bubble bath.
I'm not sure how big this was but it was a tiny little sample that I got with an online purchase. This is one of MAC's best selling mascaras and I got around 2 weeks use from this size. I've used the full sized version and whilst I don't think it's anything special or exciting, it's a decent mascara that separated and seem to lengthen the lashes. I'm not sure I would repurchase but it's isn't bad.
This is a pre wash, hair mask that I love, and that Mummy Lou loves. I've used this for a few years now on and off and it's something that I will continue to use. I think Mummy Lou bought this one but I was recently sent a batch of Ojon goodies which included another pot of this magical substance so I'll do a full review for you soon.
Another bubble bath from Avon and another limited edition. This one had quite a runny formulation and the blackberry and vanilla fragrance to me smelled quite fruity, and almost creamy and coconut like. Like all of the products I've used in the this range, a small amount of product goes a long way and produces a mass of bubbles, so these large bottles last a long time, and are good value for money. I think I only have one of these left, a strawberry fragrance, so I'll be using that one as a summer shower product.
Our new new shower room should hopefully be finished tomorrow and do you know what? I can't wait to give my new shower a try and to get some products used up x It's been a festival like existence in my own home and believe me it hasn't been fun especially since we've all been so poorly.


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text:
Q: Getting more than 25 photos from the Facebook Graph API I'm trying to retrieve all the photos a user is tagged in using the Graph API but I can only get the latest 25.
Is it possible to get more, and if so, how?

A: Currently there is 100 items limitation per query both on photos and likes:
However, 100 pics query takes so much time to run for me.
The following API call:
https://graph.facebook.com/me/photos?limit=500

gives only 100 results with paging link.
Run in FQL explorer (If you have more than 100 pic on your account):
https://developers.facebook.com/tools/explorer/?method=GET&path=me%2Fphotos%3Flimit%3D500

A: Setting limit=0 may not always work in the case that a user has a huge number of tagged photos. Also note that the tagged photos graph API can return a large number of embedded comments as well, so especially if you are developing a mobile app, it can take a long time to return all the photo data. Finally I find that sometimes Facebook will limit the number of entries it can return in times of high load.
So... perhaps the best way is to use the "paging" "next" url that appears at the end of the returned photo data. This gives you the next graphAPI call that you can then use to get the next x photos. It does this by using and pre-populating the limit and until parameters and incorporating them within the graph api call. Very handy.

A: Have you tried adding a limit and offset parameters? Quoting the documentation:

Paging
When querying connections, there are several useful parameters that enable you to filter and page through connection data:

*

*limit, offset: https://graph.facebook.com/me/likes?limit=3

*until, since (a unix timestamp or any date accepted by strtotime): https://graph.facebook.com/search?until=yesterday&q=orange

redpajama_set_name: RedPajamaStackExchange


text:
EU begins deporting migrants to Turkey
The EU border protection agency Frontex has begun implementing the EU-Turkey deal and deporting refugees from Greece to Turkey. Human rights organisations are highly critical of the operation. What will be the price of resolving the refugee crisis?
De Volkskrant (NL) / 14 April 2016
De Persgroep Nederland
The Hague approved a dirty policy
Reports by the human rights organisation Amnesty International according to which Turkey is deporting refugees to Syria have outraged Dutch MPs. But such reactions are entirely hypocritical, columnist Bert Wagendorp writes in the centre-left daily De Volkskrant:
"If parliament wanted to prevent the deal with Turkey it could have voted for the country to generously take in a couple of hundred thousand Syrians back in January, as the Dutch contribution to a European solution. ... The majority, however, wanted an end to the flood of refugees. While some of them pointed to the possibility of rapists and terrorists entering with all the rest, others argued that precisely that party which has been pointing to the rapists and terrorists coming in with all the rest would see its popularity increase. ... The solution to our problems would inevitably have nasty consequences. Everyone knew that. ... This is a dirty policy. But we ourselves called for it."
Bert Wagendorp
Daily Sabah (TR) / 05 April 2016
EU must help with integration
For the pro-government paper Daily Sabah the deportation of illegal refugees to Turkey won't solve the problem:
"The presence of 3 million Syrian refugees in Turkey can be seen as a time bomb if these people are not given any perspective for an acceptable future in which they can live in humane conditions. ... The European Union's major aim should be to help Turkey not to stop these refugees at its borders with the EU, but to integrate them into Turkish society. ... It is high time to distance oneself from the rhetoric of whether returning refugees is in compliance with European values or not. Nobody wants these refugees in their countries except Turkey. So it is time to support Turkey, its government, its authorities and its nongovernmental organizations if a helping hand is to be given to Syrians. It is not a question of money, but a question of principles and values."
Emre Gönen
The Guardian (GB) / 04 April 2016
Refugees being deprived of their rights
The rights of asylum of the refugees affected by the EU-Turkey deal are no longer guaranteed, columnist Apostolis Fotiadis criticises in the centre-left daily The Guardian:
"Activist lawyers' accounts and journalist reports from the islands raise the question of whether refugees have been given sufficient time and access to asylum procedures. It appears that many of them do not yet understand the content of the deal or why they have been restricted, and there has been a last-minute rush for asylum claims among the people who are possible deportees. It is also unclear how Turkey plans to handle returnees, how they will be received, and whether they will be able to receive the protection that was previously offered to them there."
Apostolis Fotiadis
Cumhuriyet (TR) / 05 April 2016
Kemalist
Cumhuriyet Stiftung
Ankara exploiting refugee crisis
The Kemalist daily Cumhuriyet criticises the government in Ankara saying it is exploiting the refugee crisis for its own political objectives:
"The Middle East's refugee problem has torn away the mask of civilisation and exposed its ugly face. … Turkey, for example, is playing a game in which it is using the refugees to change the country's demographics and voter structure: where it receives few votes, in the Aegean coastal regions and those parts of the country with a predominantly Alevi population like Çeşme, Dikili and Kahramanmaraş, the ruling AK party is trying to set up camps for three million refugees! In this way the bloodbath that represents humanity's disgrace in the 21st century and the refugee crisis it has triggered are being exploited to realise the government's anti-democratic ambitions."
Emre Kongar
Frankfurter Allgemeine Zeitung (DE) / 04 April 2016
Asylum decision on outer borders fair
The deportations to Turkey mark a first step on the path to a fairer European migration policy, the conservative daily Frankfurter Allgemeine Zeitung believes:
"If there is a chance to at least create the conditions for controlling the flood of refugees so that those who are entitled to asylum can claim it while others who are not entitled are prevented from doing so, then this distinction must be made on Europe's outer border. The supposedly unavoidable open border policy was not only a stimulus programme for those seeking to capitalise on the plight of others, it also rewarded the young, the strong and the prosperous. Now those Syrian refugees who are most in need of protection will be able to reach Europe."
Daniel Deckers
The Malta Independent (MT) / 03 April 2016
The Malta Independent
Standard Publications Ltd.
Turkey not a safe third country
Ankara's treatment of critics and Kurds shows that the EU should not deport refugees to Turkey, the centre-right daily The Malta Independent believes:
"Most of its incredible human rights violations – against opposition journalists and, especially, the Kurds - go unnoticed and overlooked in the majority of the Western media simply because its Nato member status gives it such privilege. ... Human rights groups have been rightly voicing concerns over Turkey as a 'safe third country' to host refugees fleeing war and violence. Under EU rules, refugees might be returned to a third country on condition it is safe and does not pose any threat to life and liberty. Any EU politician who considers Turkey as such needs to have a quick fix of cold turkey."
Charles Flores
Protagon.gr (GR) / 03 April 2016
Protagon.gr
Europe sending too few police officers
The liberal news website Protagon points out that the Greek islands of Lesbos and Chios are ill-prepared for the deportations of migrants:
"The personnel and infrastructural deficits are so apparent that there are major doubts about the success of the EU agreement. … Germany and France are sending 200 people for Frontex and 100 for the asylum authorities. The biggest problem, however, is the number of police officers. The original plan was that each person [being deported] would be accompanied by two police officers, but that can't be implemented. Instead the ratio will be one to one. … For this reason the British have proposed postponing the operation until the islands are better prepared for it."
Tasos Telloglou
More opinions
 EU has made nothing but empty promises to Greece
GreeceTurkeyMiddle EastEU neighbourhood policyEU PolicyCrises / WarHuman rightsMigrationNetherlandsSyriaEuropeInternational RelationsIntegrationElectionsSocietyEthics


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text:
Bitcoin Forum > Alternate cryptocurrencies > Marketplace (Altcoins) > Bounties (Altcoins) > 🔥[BOUNTY] EZ365 - Digital Asset Ecosystem Play Trade Learn. [Round 1 Complete]
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GraduateMagnet452
Re: [BOUNTY] EZ365 - Digital Asset Ecosystem Play Trade Learn.
<<<<<<< Week No 10>>>>>>>
********** Date --- 13-10-2019 --- 18-10-2019******
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InterstateCreek21
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TradeBargains072
[[[ Week Number == 10 ]]]
Date --- 13-10-2019 --- 18-10-2019
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EurekaRedHat24
Week 10 --- <<<<<13-10-2019 <---> 18-10-2019>>>>>
[/i][/b]
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Tahsin Kabir Kollol
Week 10 ~ 10/14 - 10/20
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WhiteHat35
Date::::@@@@@@++ <13-10-2019 --- 18-10-2019> ++@@@@@@
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Shef198911
ஐஐஐ♏ ஐஐஐ
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Bitcointalk Username: shef198911
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text:
Francisco Raúl Gutiérrez Grillo, ook bekend als Machito (3 december 1909 – Londen, 15 april 1984), was een Cubaanse zanger en maraca'sspeler, die hielp bij het verfijnen van Afro-Cubaanse jazz en het creëren van zowel cubop- als salsamuziek. Hij groeide op in Havana met zijn pleegzus en zangeres Graciela.

In New York formeerde Machito in 1940 de Afro-Cubans en met Mario Bauzá als muzikaal leider bracht hij Cubaanse ritmes en bigbandarrangementen samen in één groep. Hij maakte talloze opnamen van de jaren 1940 tot 1980, veel met Graciela als zangeres. Machito wisselde in 1975 naar een kleiner ensemble-formaat en toerde intensief door Europa. Hij bracht zijn zoon en dochter in de band en ontving in 1983 een Grammy Award, een jaar voordat hij overleed.

Machito's muziek had een effect op de carrières van veel muzikanten die in de loop der jaren in de Afro-Cubans speelden en op degenen die zich aangetrokken voelden tot latinjazz, nadat ze hem hadden gehoord. George Shearing, Dizzy Gillespie, Charlie Parker en Stan Kenton werden beïnvloed door Machito. Een kruispunt in East Harlem wordt ter ere van hem Machito Square genoemd..

Biografie

Jeugd
Machito gaf tegenstrijdige verklaringen over zijn geboorte. Hij zei wel eens dat hij een Cubaan was uit Havana. Andere verklaringen plaatsen zijn geboorte in Tampa (Florida), waardoor hij een Amerikaan van Cubaanse afkomst is. Hij is mogelijk geboren in 1908 in het Jesús María-district van Havana of in Tampa, 1909 in het Marianao Beach-district van Havana of in Tampa, 1912 in Tampa of Havana, of zelfs 1915 in Havana.

Ongeacht zijn geboorteplaats groeide Machito van jongs af aan op in het Jesús María-district van Havana, waar zijn pleegzus Graciela werd geboren op 23 augustus 1915. Ze werden beiden opgevoed door haar ouders. De jonge Francisco Raúl Gutiérrez Grillo, de zoon van een sigarenfabrikant, kreeg als kind de bijnaam 'Macho', omdat hij de eerste zoon was van zijn ouders, nadat ze drie dochters hadden gekregen. In zijn tienerjaren en de jaren 1920 werd Macho in Cuba een professionele muzikant en speelde hij in verschillende ensembles van 1928 tot 1937.

Carrière
Macho verhuisde in 1937 naar New York als zanger bij Las Estrellas Habaneras (Havana Stars). Hij werkte eind jaren 1930 met verschillende latinjazz-artiesten en -orkesten en nam op met Conjunto Moderno, Cuarteto Caney, Orchestra Siboney en bandleider Xavier Cugat. Na een eerdere poging om samen met Mario Bauzá een band op te richten, richtte hij in 1940 de Afro-Cubans op en dirigeerde hun eerste repetitie op 3 december in de Park Palace Ballroom gelegen aan W. 110th Street in Harlem. Een blazerssectie in bigband-stijl met trompetten en saxofoons werd ondersteund door een trapdrum, piano, bas en een Cubaanse bongo. Enkele weken later, begin januari 1941, nam Machito Mario Bauzá in dienst als muzikaal leider, een rol die hij 34 jaar behield. Als instrumentalist speelde Bauza trompet en altsaxofoon.

De band had een vroege hit met Sopa de Pichon in 1941. De titel is straattaal voor duivensoep, een Puerto Ricaanse grap over bijna verhongering als immigrant in New York.

Machito en de Afro-Cubans waren een van de eersten die Afro-Cubaanse ritmes versmolten met jazzimprovisatie en arrangementen voor een bigband. Machito was de frontman en maracaspeler van de Afro Cubans, terwijl Bauza het karakter van de band als muzikaal leider bepaalde. Bauza was Machito's zwager uit zijn huwelijk met Machito's zus Estela en huurde jazz-georiënteerde arrangeurs en muzikanten in om het oprichtende lid en de oorspronkelijke arrangeur van de band Joseph 'Pin' Madera te vervangen, die was opgeroepen voor het Amerikaanse leger en diende in de Tweede Wereldoorlog.

Als gevolg hiervan inspireerde Machito's muziek grote Amerikaanse jazzmuzikanten als Dizzy Gillespie, Charlie Parker en Stan Kenton. Een van de items in het repertoire van het Kenton-orkest was een idiomatisch Afro-Cubaans nummer, dat bekend staat als Machito, gecomponeerd door Stan Kenton met Pete Rugolo en in 1947 uitgebracht als Capitol 78.

In april 1943, tijdens de Tweede Wereldoorlog, werd Machito opgeroepen voor het Amerikaanse leger. Na een paar maanden trainen liep hij een beenblessure op en werd in oktober ontslagen. Eerder, anticiperend op een lange afwezigheid van de leider van de band, had Bauza Machito's jongere pleegzus Graciela laten halen, die vanuit Havana naar New York was gereisd, waar ze op tournee was geweest met El Trio Garcia en de hoofdrol zong met het volledig vrouwelijke Orquesta Anacaona. Graciela was een jaar lang de leadzangeres van de Afro-Cubans, voordat Machito terugkeerde aan het hoofd van de band. Graciela bleef aan - bij optredens wisselden de twee zangers solo-liedjes af en creëerden duetten zoals Si Si No No en La Paella. Naast de percussie speelde Graciela claves naast Machito's maracas.

Beginnend in 1947 hielp tiener Willie Bobo bij het verplaatsen van de uitrusting van de band naar optredens in Upper Manhattan, zodat hij ze kon zien spelen. Tegen het einde van de avond, als er geen vakbondsleiders van musici in zicht waren (hij was minderjarig), leende hij bongo's van José Mangual en speelde hij met de band. Later hielp Machito hem om posities te krijgen in andere latin-bands. Vele jaren later wees George Shearing Machito en Willie Bobo aan als twee muzikanten die hem hielpen te leren, waar latinmuziek over ging.

Machito accepteerde een opnamedatum met Stan Kenton in december 1947, toen hij maracas speelde op het deuntje The Peanut Vendor, wat een hit was voor Kenton. Andere Afro-Cubans waren op dat moment Carlos Vidal op conga's en José Mangual op timbales. De volgende maand deelden de bands van zowel Kenton als Machito het podium in The Town Hall, New York, wat leidde tot een stijgende interesse in cubop. Machito noemde die muziekstijl toen hij in 1948 een arrangement van Bauza's Tanga opnam met de nieuwe titel Cubop City. Machito was gewild bij platenproducenten en in zijn liveshows speelde hij met solisten als Howard McGhee op trompet en Brew Moore op tenorsax. Eind 1948 ging hij de studio in met Charlie Parker en Flip Phillips op tenorsax. Machito's ster was rijzende en hij speelde in de Carnegie Hall op 11 februari 1949 en prijkte op een affiche met Duke Ellington, Lester Young, Bud Powell en Coleman Hawkins. Er werd een 78" album uitgegeven, opgenomen in 1948 en 1949: Mucho Macho. Voor deze opnamen had de 14-koppige band drie trompettisten (waaronder Bauza), vier saxofonisten, pianist René Hernández, een bassist en drie percussionisten die bongo's, conga's en timbales speelden, aangevuld met Graciela op claves en Machito zelf op maracas. Een volgende publicatie was Tremendo Cumban met arrangementen van pianist Hernández en vocale toevoegingen van de Rugual Brothers. Deze opname bevat Mitch Miller, die hobo speelt op het deuntje Oboe Mambo.

Elke zomer van midden jaren 1940 tot eind jaren 1960, een periode van 22 jaar, speelden Machito en zijn band tien weken lang een engagement in het Concord Resort Hotel in de Catskills. Machito's album Vacation at the Concord werd in 1958 uitgegeven als een representatieve ervaring van een avonduitvoering, maar het werd niet opgenomen in het resort. De 5-jarige Mario Grillo leerde timbales spelen tijdens de zomerserie van 1961, met lessen van Uba Nieto, en keerde vervolgens terug naar New York met de band van zijn vader en speelde zijn eerste optreden, waarbij hij staand op een stoel, een enkele timbales-solo ten gehore bracht in de Palladium Ballroom naast Tito Puente.

In 1957 nam Machito het album Kenya op, met voornamelijk originele nummers van A.K. Salim of Hernández, die samenwerkte met Bauza. Het enige nummer op de cover was Tin Tin Deo van Chano Pozo. Gastmuzikanten waren onder meer Doc Cheatham en Joe Newman op trompet, Cannonball Adderley op altsax en Eddie Bert op trombone. Vast bandlid en arrangeur Ray Santos speelde ook tenorsaxofoon op het album. Een zevenkoppige percussiesectie (inclusief Candido Camero en Carlos 'Patato' Valdes) rondde het af. Het album heeft een aanzienlijke levensduur gekend: een halve eeuw na de publicatie werd het genoemd door Robert Dimery in zijn boek 1001 Albums You Must Hear Before You Die.

In 1975 trad Machito's zoon Mario Grillo, bekend als Machito jr., toe tot de band voor de opname Afro-Cuban Jazz Moods met Dizzy Gillespie. Het album, met arrangementen van Chico O'Farrill, werd genomineerd voor een Grammy Award. Later in 1975 besloot Machito dat hij een uitnodiging zou accepteren om door Europa te toeren met een kleiner achtkoppig ensemble. Bauza stopte, hij had ernstige twijfels of zo'n onderneming muzikaal zou werken. Graciela vertrok ook. De toer en de kleinere band bleken erg succesvol en was het begin van meerjarige reizen door Europa. (Bauza gaf jaren later toe dat hij te haastig had gehandeld.) Mario Grillo nam de taken van muzikaal leider over in 1977. Dat jaar verdiende de band opnieuw een Grammy-nominatie voor Fireworks, een verandering van toon die werd aangegeven door het optreden van Lalo Rodríguez als co-leadzanger en componist van drie deuntjes. Verdere Europese tournees werden ondernomen onder de bandnaam Machito and his Salsa Big Band en Machito's dochter Paula Grillo verzorgde de vrouwelijke leadzang en trad in Graciela's voetsporen. Toen de band in februari 1982 in Londen verscheen, accepteerden ze langetermijn-verbintenissen, waardoor Londen hun thuisbasis werd.

In de Avery Fisher Hall in 1978 speelden Machito en zijn band voor het New Yorkse gedeelte van het Newport Jazz Festival. Dizzy Gillespie speelde solo met de band. Na zijn set brachten Machito en Tito Puente allebei hun bands op het podium. De twee bands speelden het nummer Mamba Adonis gedurende 15 minuten, een deuntje dat later door Puente werd omgedoopt tot Machito Forever. Vervolgens maakten Machito's band en Gillespie de set af met het deuntje Manteca, een arrangement uit 1948.

In 1983 won Machito een Grammy Award in de categorie «Best Latin Recording» voor Machito & His Salsa Big Band '82. De opname is in ongeveer vier uur in Nederland gemaakt, meestal één opname per deuntje.

Opmerkelijke innovaties

Creatie van Latin jazz
Het eerste jazznummer dat openlijk in-clave was gebaseerd, was Tanga (1942), gecomponeerd door Mario Bauza en opgenomen door Machito en zijn Afro-Cubans.
De eerste descarga [Cubaanse jamsessie] waarvan de wereld kennis nam, is terug te voeren op een Machito-repetitie op 29 mei 1943 in de Park Palace Ballroom, op 110th Street en 5th Avenue. Op dat moment was Machito in Fort Dix (New Jersey) in zijn vierde week basisopleiding. De dag ervoor hoorde Mario Bauza, Machito's trompettist en muziekdirecteur, in de La Conga Club, pianist Luis Varona en bassist Julio Andino iets spelen, dat zou dienen als een permanent sign-off (einde van de dans) deuntje.

Op deze maandagavond leunde Dr. Bauza over de piano en droeg Varona op om hetzelfde pianostuk te spelen als de avond ervoor. Met de linkerhand van Varona begon de introductie van El Botellero van Gilberto Valdes. Bauza vertelde Julio Andino wat hij moest spelen: eerst de saxen, dan de trompetten. De gebroken akkoordklanken begonnen al snel vorm te krijgen in een Afro-Cubaanse jazzed melodie. De altsax van Gene Johnson liet vervolgens oriëntaalse jazzfrases horen. Bij toeval werd Afro-Cubaanse jazz uitgevonden toen Bauza die avond Tanga (Afrikaans woord voor marihuana) componeerde.

Daarna, telkens als Tanga werd gespeeld, klonk het anders, afhankelijk van de individualiteit van een solist. In augustus 1948, toen trompettist Howard McGhee solo speelde met Machito's orkest in het Apollo Theater, resulteerden zijn improvisaties op Tanga in Cu-Bop City, een deuntje dat maanden later door Roost Records werd opgenomen. De jams die plaatsvonden in de Royal Roots, Bop City en Birdland tussen 1948-1949, toen Howard McGhee, tenorsaxofonist Brew Moore, Charlie Parker en Dizzy Gillespie bij het Machito-orkest zaten, waren niet gerepeteerd, ongeremd en ongehoord voor jamsessies, die in die tijd ceremoniemeester Symphony Sid de Afro-Cubaanse jazz noemde.

De jams van het Machito-orkest van tien of vijftien minuten waren de eerste in de latin-muziek die zich losmaakten van de traditionele opnamen van minder dan vier minuten. In februari 1949 werd het Machito-orkest het eerste dat een precedent schiep in de Latijnse muziek, toen het tenorsaxofonist Flip Phillips in een vijf minuten durende opname van Tanga speelde. De twaalf inch 78-toeren, onderdeel van het album The Jazz Scene, werd verkocht voor $25-Salazar (1997).
De rechterhand van de Tanga piano guajeo is in de stijl die bekend staat als ponchando, een soort niet-arpeggio guajeo met blokakkoorden.

Tien innovaties
 De eerste band die het driemanschap van conga's, bongo en timbales tot het standaardelement van percussie in Afro-Cubaanse dansmuziek maakte. Hierdoor verhoogden alle drie de instrumenten hun rol in de Afro-Cubaanse dansmuziek. Het gebruik van gebroken belpatronen door de bongocero in mambo-hoornsecties, de verhoogde ritmische vocabulaire van de conga-drum en zijn functie in een bandomgeving, het toegenomen belang van de rol van de timbalen bij het opzetten van figuraties, gespeeld door de hoorns en deze te accentueren zoals een jazzdrummer zou doen in een bigband. bijv. 'Nague', ook het eerste opgenomen voorbeeld van alle drie de percussie-instrumenten die als een sectie spelen.
 De eerste band die jazzarrangement-technieken met Afro-Cubaanse ritmes verkent. De Cubaanse bigband-arrangeur Chico O'Farrill verklaarde: 'Dit was een nieuw concept bij het interpreteren van Cubaanse muziek met zoveel mogelijk (harmonische) rijkdom. Je moet begrijpen hoe belangrijk dit was. Het maakte elke andere band die daarna kwam, tot volgers'.
 De eerste band die modale harmonie verkende, een concept dat veel later door Miles Davis en Gil Evans werd verkend vanuit een jazzarrangement-perspectief door middel van hun opname van Tanga. Opvallend is het 'vel met geluidseffect' door het gebruik van meerdere lagen.
 De eerste bigband die, vanuit een Afro-Cubaans ritmisch perspectief, uitgebreide compositorische werken op grote schaal verkent, bijv. The Afro-Cuban Jazz Suite van Chico O'Farrill.
 De eerste band die jazz bigband-arrangementen in een oorspronkelijke compositie verenigde met jazz-georiënteerde solisten met behulp van een Afro-Cubaanse ritmesectie, bijv. Gene Johnson (alt), Brew Moore (tenorsax), compositie - Tanga (1943).
 De eerste multiraciale band in de Verenigde Staten.
 De eerste band in de Verenigde Staten die de term Afro-Cuban als de naam van de band gebruikte (Machito & The Afro-Cubans), waarmee de West-Afrikaanse roots van de muziek wordt erkend.
 De eerste Afro-Cubaanse dansband die het concept van clave-contrapunt openlijk verkent vanuit een arrangement-standpunt. Het vermogen om naadloos van de ene kant van de clave naar de andere te gaan zonder de ritmische integriteit binnen de structuur van een muzikaal arrangement te breken.
 De band zette een norm van professionaliteit en muzikale uitmuntendheid, waaraan bandleiders als José Curbelo, Tito Puente, Marcelino Guerra, Tito Rodríguez, Elmo García en elke band die volgde, moesten voldoen. Hoewel duidelijk kon worden gesteld dat Xavier Cugat veel eerder een extreem hoog niveau van professionaliteit had bereikt met zijn orkest in het Waldorf-Astoria Hotel (1931), was het geluid dat door de meerderheid van de bandleiders in New York werd nagebootst, niet dat van Cugat, maar dat van Machito's Afro-Cubans. Cugat trad op voor elite van de high society, niet voor de latino-gemeenschap, die geconcentreerd was in East Harlem (El Barrio) en de South Bronx. Cugats geluid was er een die ze misschien hebben ervaren via opnamen op de radio, maar deze gemeenschap had er weinig toegang toe.
 De Afro-Cubanen van Machito vormden een oefenterrein voor de uitwisseling van progressieve muzikale ideeën voor Afro-Cubaanse dansmuziek en de fusie ervan met jazzarrangementen, samen met jazzgeoriënteerde solisten in een multiraciaal kader dat nog niet bestond.

Terwijl hij muzikaal leider was van Machito, ontwikkelde Mario Bauzá het concept en de terminologie van de 3-2/2-3 clave. Een akkoordprogressie kan aan weerszijden van de clave beginnen. Wanneer de progressie aan de driekant begint, wordt gezegd dat de song of songsectie in 3-2 clave is. Wanneer de akkoordprogressie aan de tweezijdige begint, is het in 2-3 clave. In Noord-Amerika vertegenwoordigen salsa- en latinjazz-grafieken gewoonlijk clave in twee maten van cut-time (2/2), dit is hoogstwaarschijnlijk de invloed van jazzconventies. Wanneer clave in twee maten (hierboven) wordt geschreven, is het veranderen van de ene clave-reeks naar de andere een kwestie van de volgorde van de maten omkeren.

Van de ene kant van de clave naar de andere
Het 3-2 / 2-3-concept en de terminologie werden in de jaren 1940 in New York ontwikkeld door de in Cuba geboren Mario Bauza, terwijl hij muzikaal leider was van Machito en zijn Afro-Cubans. Bauzá was een meester in het verplaatsen van het lied van de ene kant van de clave naar de andere. Het volgende melodische fragment komt uit de openingsverzen van Que vengan los rumberos van Machito en zijn Afro-Cubanen. De melodie gaat van de ene kant van de clave naar de andere en dan weer terug. Een maat van 2/4 verplaatst de akkoordprogressie van de tweezijdige (2-3) naar de driezijdige (3-2). Later verplaatst een andere maat van 2/4 het begin van de akkoordprogressie terug naar tweezijdig (2-3).
De eerste 41⁄2 claves van de verzen staan in 2-3. Na de maat 2/4 (halve clave) klapt het nummer naar de driekant. Het gaat verder in 3-2 op het V7-akkoord voor 41⁄2 claves. De tweede maat van 2/4 draait het nummer terug naar de tweezijdige en het I-akkoord.

In nummers als Que vengan los rumberos wisselen de zinnen voortdurend af tussen een 3-2 raamwerk en een 2-3 raamwerk. Het vergt een zekere mate van flexibiliteit om uw oriëntatie op deze manier herhaaldelijk opnieuw te ordenen. De meest uitdagende momenten zijn de afkortingen en andere overgangszinnen waarin je draait om je referentiepunt van de ene kant van de clave naar de andere te verplaatsen.

In combinatie met de akkoord- en clave-wisselingen creëert zanger Frank 'Machito' Grillo een boog van spanning/ontlading die meer dan een dozijn maten beslaat. Aanvankelijk zingt Machito de melodie rechtlijnig (eerste regel), maar drukt de tekst al snel uit in de vrijere en meer gesyncopeerde inspiración van een folkloristische rumba (tweede regel). Tegen de tijd dat het nummer verandert in 3-2 op het V7-akkoord, heeft Machito een aanzienlijke hoeveelheid ritmische spanning ontwikkeld door het onderliggende metrum tegen te spreken. Die spanning wordt dan opgelost als hij op drie opeenvolgende hoofdslagen (kwartnoten) zingt, gevolgd door tresillo. In de maat onmiddellijk volgend op tresillo keert het nummer terug naar 2-3 en het I-akkoord (vijfde regel) —Peñalosa (2010).

Privéleven en overlijden
Machito was wat klein van stuk, met een hoogte van 1,63 m (5 voet 4 inch). Hij was zijn hele leven rooms-katholiek en trouwde op 17 januari 1940 met de Puerto Ricaanse Hilda Torres, waarna hij zijn bijnaam veranderde van Macho in Machito. Het grensoverschrijdende huwelijk diende als een teken voor de New Yorkse latino's dat het mogelijk was een gevoel van pan-latino broederschap te bereiken. Frank en Hilda Grillo brachten vijf kinderen voort: Martha (1941), Frank Jr (1943), Barbara (1948), Mario (1956) en Paula. Het gezin woonde in Spanish Harlem op 112th Street en Second Avenue, waar Machito graag voor zijn kinderen kookte en af en toe een liedje schreef, zoals Sopa de Pichon, terwijl hij in de keuken werkte.

Machito kreeg een beroerte voor aanvang van een concert in Londen in 1984 en stortte in, terwijl hij wachtte om het podium op te gaan in de club van Ronnie Scott. Hij overleed vier dagen later op 19 april 1984 op 74-jarige leeftijd in het University College Hospital in Londen. Zijn zoon Mario zette de erfenis voort door het Machito-orkest te leiden na de dood van zijn vader. Zijn dochter Paula heeft, hoewel ze haar leven aan wetenschappelijke studies heeft gewijd, af en toe als zangeres de band geleid.

Mario Bauza overleed in 1993. Hilda Grillo, beschermvrouwe van de Latijnse muziek na de dood van haar man, overleed in juli 1997. Graciela is nooit getrouwd geweest en overleed in april 2010 op 94-jarige leeftijd.

Nalatenschap
In 1985 doopte de New Yorkse burgemeester Ed Koch de kruising van East 111th Street en Third Avenue Machito Square, een locatie in het Spaanse Harlem, één blok verwijderd van East 110th Street, om tot Tito Puente Way na de dood van Tito Puente in 2000. Machito woonde als jongvolwassene in een appartement in de zuidwestelijke hoek van de kruising.

De documentaire van Machito: A Latin Jazz Legacy van Carlo Ortiz werd uitgebracht in 1987, waarop een oudere Machito en zijn vrouw in hun appartement in The Bronx te zien waren, evenals archiefbeelden van optredens in de jaren 1940 en daarna.

Eerbetoon
De Nederlandse formatie Cubop City Big Band debuteerde midden jaren 90 met een album waarop het werk van Machito centraal stond.

Discografie

Als leader
 1948-1949: Mucho Macho Machito (Clef Records)
 1957: Kenya (Roulette Records)
 1958: Vacation at the Concord (Verve Records)
 1959: Machito with Flute to Boot (Roulette)
 1961: Machito at the Crescendo (GNP Crescendo Records)
 1983: Machito!!! (Timeless Records)

Als sideman
????: Miguelito Valdés, Bim Bam Boom – An Album of Cuban Rhythms (Decca Records)
 1942: Miguelito Valdés, Afro-Cuban Music (Decca)
 1948, 1951-1952: Charlie Parker, South of the Border (Verve Records)
 1975: Dizzy Gillespie, Afro-Cuban Jazz Moods (Pablo Records)

Literatuur
 Austerlitz, Paul en Jere Laukkanen (2016). Machito and His Afro-Cubans: Selected Transcriptions. Middleton, WI: A & R Edition. .

Externe link
Music of Machito and his Afro-Cubans bij the Library of Congress

Cubaans zanger

redpajama_set_name: RedPajamaWikipedia


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text:
Англи́йский алфави́т () — алфавит английского языка. Он основан на латинском алфавите и состоит из 26 букв.

6 букв могут обозначать гласные звуки (монофтонги и дифтонги, самостоятельно или в составе диграфов): «A», «E», «I», «O», «U», «Y».

21 буква может обозначать согласные звуки: «B», «C», «D», «F», «G», «H», «J», «K», «L», «M», «N», «P», «Q», «R», «S», «T», «V», «W», «X», «Y», «Z».

Буква «Y» может обозначать как согласный, так и гласный звуки (yes, yet, но many, only).

Буква «W» самостоятельно означает согласный звук (when, sweet), но используется и в составе диграфов, обозначающих гласные звуки (cow, dew, raw и так далее). В британском произношении () то же верно и для буквы «R» (run, drink, но more, far, dear).

Буквы современного английского алфавита

Диграфы

В английском языке имеются следующие диграфы:
 sh = [ʃ], «shine» [ʃaɪn];
 zh = [ʒ], «Zhukov» [ˈʒukov] (только в практических транскрипциях);
 ch = [tʃ], «China» [ˈtʃaɪnə]; = [k] в словах греческого происхождения — «echo» [ˈekəʊ], а также в заимствованиях из некоторых других языков: иврита — «Michael» [ˈmaɪkəl]; немецкого — «Mach» [mak]; иногда = [ʃ] в словах французского происхождения — «Michigan» [ˈmɪʃɪgən], «machine» [məˈʃiːn]; и др.;
 kh = [x], «Kharkiv» [ˈxarkiv] (только в практических транскрипциях);
 th = [ð] либо [θ], «the» [ðiː, ðə], «think» [θɪŋk];
 ph = [f] в словах греческого происхождения.

Диакритические знаки

Диакритические знаки применяются в английских текстах редко и в основном в заимствованных словах при сохранении в английском их написания, имевшегося в их языке-источнике, часто французском: в слове café «кафе» значок акута показывает, что в английском вслед за французским буква e не является непроизносимой, «немой», какой была бы на конце слова, не имея штриха. Этот знак и штрих с обратным ему наклоном во французском обозначают гласные звуки той или иной степени открытости — подъёма языка, и во французском ударение всегда падает на последний произносимый гласный звук каждого знаменательного слова.

Как только такие слова становятся натурализованными в английском, они обычно теряют диакритические знаки, как это произошло со старыми заимствованиями, к примеру, французским словом hôtel. В неформальном английском диакритика часто опускается в силу отсутствия букв с ней на клавиатуре, в то время как профессиональные копирайтеры и наборщики предпочитают её использовать. Те слова, что ещё воспринимаются как чужие, часто сохраняют диакритику. К примеру, единственное написание слова soupçon, найденное в английских словарях (Оксфордском и других) использует диакритический знак. Диакритические знаки чаще сохраняются тогда, когда при их отсутствии возможна путаница с другим словом (к примеру, résumé (или resumé [резюме] «резюме (для приема на работу)», а не resume [ризьюм] «возобновить») и, редко, даже добавляются (как в maté, от испанского yerba mate, но следуя примеру написания слова café, из французского).

Акут, гравис или диерезис могут быть поставлены над «e» в конце слова для обозначения того, что она произносится (saké).

В целом, диакритические знаки часто не используются даже в тех местах, где они могли бы позволить избежать путаницы.

История

Письменность на английском языке появилась примерно с V века н. э., для записи использовались англосаксонские руны, сохранилось лишь несколько небольших фрагментов записей того времени. Замена рун на латинские буквы началась с VII века с приходом христианских миссионеров.

В 1011 году монах Бенедиктинского аббатства по имени Бёртферт (Byrhtferð) использовал английский алфавит, состоящий из 23 букв латинского алфавита (без «J», «U» и «W»), дополненных амперсандом, четырьмя буквами, основанными на англосаксонских рунах: «ȝ» (yoȝ, йоуг), Вуньо (ƿ), Торн (þ), «Ð» и лигатурой «Æ». Его вариант выглядел так:
 A B C D E F G H I K L M N O P Q R S T V X Y Z & Ȝ Ƿ Þ Ð Æ

В XVI веке были предложены буквы «U» и «J», как производные от «V» и «I», получила статус отдельной буквы лигатура «W» («VV»). Лигатуры «æ» и «œ» могут использоваться в некоторых словах греческого и латинского происхождения, таких, как «encyclopædia» — энциклопедия, однако в связи с техническими ограничениями клавиатур и печатных устройств они часто заменяются на соответственно «ae» и «oe».

Частотность букв
Самой часто встречаемой буквой в английском языке является «E», самой редкой — «Z».

Ниже приведён список частотностей букв, используемых в английском языке.

См. также
 The quick brown fox jumps over the lazy dog — панграмма, содержащая все 26 букв английского алфавита.

Примечания

Английский язык
Алфавиты на основе латинского


text:
Secretary of State John Kerry (3rd-R), along with US Secretary of Defense Chuck Hagel (L), Australian Defense Minister David Johnston (2nd-L), and Australian Foreign Minister Julie Bishop (2nd-R) are greeted by Governor-General Sir Peter Cosgrove (R) at Admiralty House on Aug. 12, 2014 in Sydney, Australia. (Dan Himbrechts/Getty Images)
China Declares Australia a Military Threat Over US Pact
By Joshua Philipp, The Epoch Times
August 14, 2014 Updated: August 16, 2014
China's state-run media have declared Australia a threat to its national security, after Australia finalized a 25-year military pact with the United States.
The United States currently has 1,200 troops from the Marine Corps and Air Force training with Australian troops for humanitarian and disaster relief. The defense agreement will increase the number of U.S. troops at Darwin in northern Australia to 2,500.
The Chinese regime is none too pleased about the agreement, however.
Li Jie, rear admiral of China's People's Liberation Army Navy, told Want China Times that Australia could pressure China's supply lines in the Strait of Malacca in a conflict over the South China Sea.
"Australia is therefore likely to become a threat to China's national security," it states.
Global Times reported that if a war broke out between China and Vietnam or the Philippines, the United States could deploy submarines and aircraft from Australia.
Secretary of Defense Chuck Hagel announced the U.S.-Australia Force Posture Agreement on Tuesday alongside Australian minister of defense David Johnston and minister of foreign affairs Julie Bishop.
Hagel said during a press conference, "This is a part of the world that represents five of America's seven treaty obligation countries that we are committed to, which we've made very clear we're committed to."
Johnston said the U.S. troops are helping train the Australian military. "The Marines, of course, are the world's experts in amphibious combat and amphibious operations," he said during the press conference. "And so, we're watching as to how those operations are carried out."
The recent troop increase is part of a 2011 agreement between the United States and Australia. It was in turn part of the Asia Pivot, which has focused the U.S. military on the Asia Pacific region.
The number of U.S. troops in Australia is comparatively small. Secretary of Defense Chuck Hagel said during an Aug. 12 troop event in San Diego that the United States has 360,000 men and women currently deployed in the Asia Pacific.
China has previously threatened Australia for aligning with the United States.
A source who formerly worked in U.S. intelligence told Epoch Times that, around 2010 and early 2011, China was trying to strong-arm Australia with indirect threats.
The threat went along the lines of "If Australia was attacked, the United States wouldn't get here in time to save you. You should align with China instead."
Not long after, however, the United States signed the agreement with Australia and began stationing U.S. marines and airmen in the country.
In response, China's Global Times published an article in November 2011 that brought its threats to the surface. "The U.S. military presence in Australia will not change matters in the short-term," it stated. "It remains to be seen how Australia will behave in the future and how China is going to respond."
"But one thing is certain," it added," if Australia uses its military bases to help the U.S. harm Chinese interests, then Australia itself will be caught in the crossfire."
Follow Joshua on Twitter: @JoshJPhilipp


text:
Storyteller, Kate Corkery, Delights Primary Students
The primary children were delighted this week to be given the opportunity to welcome and listen to stories by a master storyteller, Kate Corkery. Liz Wood, Year 4 Class Teacher, tells us about the visit.
Kate's visit followed on from Book Week last week, so was great timing for the children. Kate is from Ireland and has been telling stories for over 20 years. She related Irish traditional tales, Anansi stories, legends and fairy tales to every year group from Reception to Year 6.
Each year group heard a different selection; for example Year 4 were treated to a story involving fractions, which they have been learning about this week in Maths, while Year 6 were invited to solve the problem of the story themselves. The performance was highly interactive and each performance was accompanied by songs and actions; rockets blasted off and goats were lifted off tables!
What did our students think?
"She sung the song of Goldilocks" – Eva, Reception Racoons
"I liked solving the problems in the story." – Ella, 6P
"The songs with the Irish drum were great." – Asia 5I
"I enjoyed the big bus, mini and Ferrari actions." – Madele 4U
"I liked the underwater castle!" – Aidan, 4B
"You shake the song of cake!" – Renata, 1X
The children's heads were filled with magic and wonder. Please ask your child to tell you their favourite story from the event.
- Liz Wood, Year 4 Class Teacher


text:
Molecules with a spin on a topological insulator: a hybrid approach to magnetic topological states of matter
(Nanowerk News) Controlling the interactions at the interface of a magnetic/topological insulator heterostructure is an outstanding challenge with implications in fundamental science and technology.
A research led by the ICN2 Atomic Manipulation and Spectroscopy Group and the Physics and Engineering of Nanodevices Group, in collaboration with the Supramolecular Nanochemistry and Materials Group, the CFM-San Sebastián, ETH Zurich, ISM-Trieste and ALBA Synchrotron, has shown that ligands from metal-organic molecules can be used to tailor the properties of these interfaces.
The results are presented in ACS Nano ("Molecular Approach for Engineering Interfacial Interactions in Magnetic/Topological Insulator Heterostructures").
A topological insulator (TI) is a material that behaves as an insulator in its interior but whose surface contains exotic conducting states, therefore allowing electrons to move only in the surface of the material. The most peculiar property of these surface electrons is that their spin is locked to the direction of motion, so that it can be manipulated by electrical currents.
Interfacing TIs with a magnetic material can give rise to phenomena such as the current-induced spin to charge interconversion and the emergence of dissipationless spin currents, which can be exploited in novel spintronic devices, metrology or in electron-spin based quantum information applications.
However, this union of TI and magnetic material into a so-called heterostructure is a complex process that often prevents the control of the special phenomena described before. In particular, when the TI is interfaced directly with metallic ferromagnets, the strong interaction between the two materials leads to undesired effects such as the loss of magnetic properties or the suppression of the topological surface states.
By contrast, metal-organic molecules, organic molecules hosting a (magnetic) metallic ion, have been envisioned as candidates to develop magnetic/TI heterostructures in which interfacial interactions are tailored by the organic ligand.
This is precisely what researchers from the ICN2, in collaboration with CFM-San Sebastián, ETH Zurich, ISM-Trieste and ALBA Synchrotron, have demonstrated. Published in ACS Nano, this research has been led by ICREA Prof. Aitor Mugarza, Leader of the Atomic Manipulation and Spectrocopy Group and ICREA Prof. Sergio O. Valenzuela, Leader of the Physics and Engineering of Nanodevices Group. They have had the collaboration of ICREA Prof. Daniel Maspoch, Leader of the Supramolecular Nanochemistry and Materials Group, which has synthesised the metal-organic molecule. The first author of the work is former ICN2's PhD student Marc G. Cuxart.
In this work, the researchers have shown for the first time that it is possible to tune the interfacial interaction without quenching the molecular spin and the topological surface state of the TI by choosing suitable organic ligands. In particular, they found that CoTBrPP and CoPc monolayers (metal-organic molecules) adsorbed on Bi2Te3 (topological insulator) form robust interfaces where electronic interactions can be tuned without strongly perturbing the intrinsic properties of each constituent.
Their conclusions are supported by structural, electronic and magnetic information derived from a combination of specialised techniques (STM, ARPES, XMCD and DFT).
Source: ICN2


text:
require 'net/http'
require 'json'
require 'active_support/core_ext/object/blank'

module Api2cart
  class Client < Struct.new(:request_url, :proxy_url)
    READ_TIMEOUT = 999999

    def make_request!
      self.response_body = net_http.get(request_url.request_uri).body
    end

    def successful?
      return_code == 0
    end

    def error_message
      response_json['return_message']
    end

    def result
      response_json['result']
    end

    def return_code
      response_json['return_code']
    end

    protected

    attr_accessor :response_body

    def response_json
      @response_json ||= JSON.parse response_body
    end

    def parsed_proxy_url
      @parsed_proxy_url ||= URI.parse proxy_url
    end

    def net_http
      if proxy_url.present?
        Net::HTTP.new request_url.host, request_url.port, parsed_proxy_url.host, parsed_proxy_url.port
      else
        Net::HTTP.new request_url.host, request_url.port
      end.tap do |net_http|
        net_http.read_timeout = READ_TIMEOUT
      end
    end
  end
end

redpajama_set_name: RedPajamaGithub


text:
Q: default django model filed with value from the immediatelly previous entry I have an app thats supposed to track time, and one of the entries (call it begin_sec) should have (or default to)the value of a previous entry's variable (call it end_sec) (unless its the very first entry a special case that will only happen once ).
here is my model
TimeLog(model.Model);
    begin_sec= models.DateTimeField( auto_now=False,
                                   auto_now_add=False,
                                   default=?
                                   help_text="YYYY-MM-DD HH-MM-SS")
    end_sec = models.DateTimeField( auto_now=False,
                                   auto_now_add=False,
                                   default=?
                                   help_text="YYYY-MM-DD HH-MM-SS")

    ... other parts of the model.

So when i add a new entry of this type, the first time i open the app as a user i can have the begin time default to now(), and i can choose the end_sec, but on the second time and beyond i want the begin_sec to be/default to the  end_sec of the last entry.
How would i achieve that?

A: Do not specify the default value in this case. The best place to do that is in the model form save method:
class TimeLogForm(forms.ModelForm):
    class Meta:
        exclude = ['begin_sec']
        model = TimeLog

    def __init__(self, *args, **kw):
        super(TimeLogForm).__init__(self, *args, **kw)

    def save(self, *args, **kw):
        instance = super(TimeLogForm, self).save(commit=False)
        last_entry = TimeLog.objects.all().order_by('-id')[0]
        if last_entry:
            instance.begin_sec = last_entry.begin_sec
        else:
            # this is the very first record do something
            pass
        instance.save()
        return instance

Also you don't need to set auto_now=False and auto_now_add=False for both fields, by default they are False.


text:
J DENNIS ROBINSON
Point of Graves
Brief History of North Church
Music Hall (Just Released)
Smuttynose Murders
Shoals Archaeology
Privateer Lynx
Strawbery Banke
Wentworth by the Sea
Kill Vampire writers
Striking Back
Lord Baltimore
Maritime Portsmouth
Rich with Children
A BRIEF HISTORY OF NORTH CHURCH
The Iconic Heart of Portsmouth, NH
A 350th Anniversary Souvenir
The city's oldest organization and steward of the iconic Market Square steeple, the North Church of Portsmouth celebrates its 350th anniversary with a deeply-researched highly-readable illustrated history by the author of popular books about Strawbery Banke Museum, the Music Hall, and Wentworth by the Sea. This sturdy (40-pages, 8x10 inches) booklet traces the evolution of the 1712 "schism" that split the town's Congregational church through its founding pastors to the present day. This is the story of a little church with a big heart and a rich history.
Signed copies of this limited souvenir edition, the only history of this landmark church currently in print, are available exclusively from the Portsmouth Historical Society for $14.95, plus shipping and handling. For more information contact the author or North Church of Portsmouth, NH.
PURCHASE A COPY
Being asked to condense the incredible story of this landmark church was both an honor and a challenge. Except for published sermons by North Church pastors, no 350-year history existed. The church archives fill 12.5 linear feet of shelf space in the vault of the Portsmouth atheaneum across Market Square. On top of that, within a three-month timeline, my job was to also deliver a big screen slideshow tracing church history back to the origins of the Congregational Church from the arrival of Puritan movement in New England.
It was a full-on immersion that I fully enjoyed. The journey began with questions like -- Why is Portsmouth's south Church located just a block away from the city's North Church today? Why does North Church date its origin to the year 1671 when the first document in its archive dates to 1640? How did the beheading of Charles I, the accession of Puritan leader Oliver Cromwell, the the return of the English monarchy under Charles II impact the founding of a tiny congregation in Portsmouth, NH? And why did a schism in 1712 break the city's dominant religious institution in half?
And that was just the beginning.
I quickly dug into the early pastor who led this little congregation through the trauma of earthquakes, fires, war, disease, and the birth of a new nation. The text zooms in on the explosive rise of the Unitarian Church, cultural battles over temperance and abolition, and the building of a new brick church in 1854 with its iconic steeple. We follow the congregation through the construction of three parish houses, the service of more than two dozen pastors, struggles with shifting moral and spiritual beliefs, to the crises of a $1.5 million repair to the deteriorating steeple that rises 200 feet over Portsmouth's Market Square.
Only 600 copies of the booklet that Grace Peirce and I co-designed are currently in print. My plan is to adapt the text into an ebook version for 2022 and, in time, to create a narrated digital version of the accompanying slideshow. Special thanks to Douglas Woodward and the 350th Anniversary Committee for making this possible. Understanding the evolution of North Church is critical to following the history of New Hampshire's only seaport..
Back to MY BOOKS


text:
Introduction: Crying over Little Nell
Bown, Nicola (2007) Introduction: Crying over Little Nell. 19: Interdisciplinary Studies in the Long Nineteenth Century (4), ISSN 1755-1560.
10091.pdf - Published Version of Record
Official URL: http://www.19.bbk.ac.uk/index.php/19/article/view/...
Do you ever find yourself coming over all sentimental? And if you do, do you like it, or do you feel embarrassed by your sentimental proclivities? Is sentimentality a pleasurable indulgence, a minor vice, or a lapse of aesthetic and moral taste? That Victorian culture is steeped in sentimentality is axiomatic. Its cast of pathetic children, fallen women, faithful animals, lachrymose deathbeds, hopeless sunsets and false dawns, fated quests, angelic mothers and innocents betrayed – to name only the most obvious topoi of literary and visual sentimentality – is familiar to the point of parody. (Or perhaps, thinking of Wilde's witticism on the death of Little Nell, it is beyond parody already.) The taste for Victorian culture's sentimentality, like the taste for Victorian culture more generally, has waxed and waned, yet whereas a fascination for kitsch or a delight in melodrama's excesses can sit happily with serious scholarly interests, it has rarely been respectable to stand up for sentimentality. Sentimentality is excessive feeling evoked by unworthy objects; it is falsely idealising; it simplifies and sanitises; it is vulgar; it leads to cynicism; it is feeling on the cheap; it's predictable; it's meretricious. In short, it's an emotional and aesthetic blot on the landscape.
Birkbeck Schools and Departments > School of Arts > English and Humanities
Nineteenth-Century Studies, Centre for


text:
Elliot Wren Releases New Single "Girl In The Flower Patch"
Elliot Wren's new single, "Girl In The Flower Patch" has all the feels for new love and the possibilities for the future between two girls.
(Boston, MA)
The inspiration for "Girl In The Flower Patch" was drawn from meeting someone that caught Elliot's eye at a Taylor Swift concert. They were 17 at the time and the whole ride home, they spent writing this song in the backseat of their mom's car. It's about hopeful love.
Elliot's favorite lyrics from the song are:
" Secrets we told only to the moon Secrets we'll take to the grave We're just two girls on the verge of something new But I never knew I'd be this brave"
About Eliott Wren
Elliot Wren is a pop indie singer-songwriter from the Boston area. They identify as non-binary & use they/them pronouns. Elliot has been writing for over ten years, with their biggest influences being Taylor Swift, Colbie Caillat, Avril Lavigne, Melanie Martinez, Miley Cyrus & Alexi Blue.
Now 20 years old, Elliot Wren has already established themselves as a respected independent artist in Boston, performing with other local artists & organizing singer-songwriter events. In 2019, they performed in over 40 tour stops with All You Got Tour for performers aged 24 and under, and performed at First Night Boston.
Their freshman and sophomore singles, RIP My Diary and Good Luck were greeted with overwhelmingly positive praise from multiple publications for their raw lyrical style and expressive sound. Their newest single, "Girl In The Flower Patch" will be available on all streaming platforms on 8/20/2. This new song is a brand new vibe for Elliot and leans more on the folky story telling genre. They also have their sights set on an album release in early 2022.
For more information on Elliot Wren, please visit her website.
Contact : Elliotwrenmusic@gmail.com or @elliotwrenmusicofficial on Instagram
#ElliotWren #GirlInTheFlowerPatch


text:
Q: How to order dataframe based in the legth of the vector that the cell contains in R I want to order the "StarWars" data frame based on the number of film appearances. As you can see the "film" column contains a vector with the films. Which is the best approach to do this?

A: library(tidyverse)

starwars %>%
  arrange(-lengths(films))

lengths gives you the number of elements in a list. Since the films column is a list column, this function helps.
And once we have the number of elements per row, we can simply sort/arrange by that information.


Five team members from the Newton North Envirothon Team traveled to Pocatello, Idaho in July to represent Massachusetts in the 2018 NCF Envirothon.
They put together a video talking about their EnviroTrek through the year and at the competition. Congratulations to Laura Schmidt-Hong and Einat Gavish co-captains, Eve Martin, Gus Betts-O'Rourke, and Ethan Gahm for all their hard work and to the rest of the team and coach Anndy Dannenberg for their support during the year!


The one they call KiltKarter returns with a sack full of fast food to help kick off your week. It's Supersize season round these parts, so let The Croc God fulfill your order with the deliciously self-produced track below. Pull up to the next window.


text:
Q: SharePoint Backup / Restore Solutions I am using SharePoint to build a website and I am looking into the backup / restore solution.
The website is hosted on a set of virtual machines (one VM for the web front-end, one VM for SQL Server).
I have a backup of these VMs in a base state (fresh install of WSS and SQL, no web application created, etc.)
What I would like to have is a backup that I can restore on the base state VMs.
I have tried restoring different ways (from SQL, SharePoint UI, stsadm.exe). This doesn't seem to work because we have a number of custom solutions (wsp) deployed on the server and these are not restored.
This technet article says that of all the tools offered, not a single one supports restoring the central administration configuration database.
I need an option that I can rely on if the I lose the VMs completely (I would rather not backing up the whole VM though).
Restoring the databases in SQL doesn't do it because I lose my custom solutions, restoring either from the central administration or from stsadm doesn't work because it doesn't resotre the solutions and the central administration database...
How do other people backup their SharePoint systems?
Thanks!

A: Most probably you cannot find backup/restore tools that allow restoring configuration database because it is considered a bad practice. When you migrate or restore a farm, you fist create a new configuration database, then reattach the content databases which are configuration independent.
So, a good option is to prepare everything else and then attach the content databases. Several good scripts for scripted installs of SharePoint can be found on the web, I've used an adopted version of this one: http://josephfluckiger.blogspot.com/2009/01/scripted-sharepoint-install.html
In fact, you can script nearly everything, just you have to define the "everything" for your case. What I can think of:

*

*IIS metabase configuration, which can be obtained by using iisback.vbs

*web.config files from wwwroot

*custom  feature files from c:\program files\common files\microsoft shared\web server extensions\12\template\features (but you can restore them by calling "stsadm -o upgradesolution" to any of your .wsp files)

*custom templates, also from \12\template\controltemplates

*images from \12\template\images (and actually, everything you have ever put under \12\ direcctory)

*assemblies required in GAC (but these can also be restored when you call "upgradesolution)