Seventy years after the Nazi Holocaust, against the background of a rich and varied literature, Laurence Rees has achieved the unexpected: a magisterial book that consolidates what has come before and manages to offer fresh perspectives. With Brexit, Donald Trump and Marine Le Pen now centre stage, it also offers a timely reminder of the dangers that are unleashed when the path of demonisation and discrimination is embraced in the name of national well-being. As Primo Levi wrote in 1947, from his own experience, when the 'unspoken dogma' of group targeting becomes 'the major premise in a syllogism, then, at the end of the chain, there is the Lager'.
Like Levi, Rees understands the Holocaust as representing 'a singular horror in the history of the human race', and he is particularly well placed to guide us through the multitude of difficulties it presents. One of the world's foremost historical documentary film-makers, he has spent a lifetime thinking about the Nazi era, crafting balanced, rigorous and reflective films that have won plaudits and prizes. In the course of that work, he has mined a rich seam of human experiences. He has met and interviewed a vast number of people who occupied the front rows of the times of which he now writes, as perpetrators, victims and observers. He is more familiar than most with the theories that seek to explain what happened, and the lessons that might — or might not — have been learned.
He is also a seriously good storyteller — and this is his masterwork. It reaches that pinnacle precisely because he has anchored vast and grotesque stories in individual experience, an approach that gives a book passing across well-trodden ground the immediacy and power of personal testimony.The work is also imbued with its author's mature reflection; and the warning he implicitly offers to our current crop of politicians, who seem to have had a collective loss of historical memory, is plain: your words and your actions truly matter.
There is a simple reason that so many people watch the documentaries, read the books and devour the personal accounts: the events of this period go to the heart of who we are as human beings, and they remain, even with the passage of so many years, without simple or satisfactory explanations. The two central questions are: how could it have happened? And could it happen again? As to the first, we sense that the events that occurred between 1933 and 1945 have their roots in diverse factors, from elevated matters of state policy and history to the most personal of psychological elements. As to the second question, our television and computer screens tell us on that such horrors do continue — albeit in different shape and form — as one group is pitted against another.
In seeking answers he paints a vast canvas across time and place. His approach is essentially chronological, identifying particular milestones that led from a letter written by Hitler in 1919 — the point at which Rees's book opens — to the appalling death marches out of the concentration camps for tens of thousands of prisoners in January and February 1945. What came between — the rise of the Nazis, the logic of the Nuremberg laws, the killing of the disabled, the shifting of populations to the east, the mixing of war and deportation, the mass extermination of human beings on an industrial scale — is minutely detailed.
The particular personality of Hitler plays a central role in Rees's assessment, along with the total capture of the machinery of government, and the removal of domestic legal protections for minority groups. At that time — and it may seem remarkable —international law had nothing to say about the treatment by a state of its own population, and there was no body of rules known as the international law of human rights to offer protection for every human being.
But nor does Rees ignore the vital involvement of a mass of individuals, in Germany and in many other countries across Europe. For these participants and observers — the foot soldiers, the oil and the cogs — he suggests motivational factors that included revenge, expiation, anti-Semitism, opportunism and self-enrichment. These factors are reflected in other works that focus on the minutiae — the young lawyers who populate Sebastian Haffner's remarkable Defying Hitler (2000), for example, or the musicians in Fritz Trumpl's fascinating and more recent The Political Orchestra: The Vienna and Berlin Philharmonics during the Third Reich (2016). Erna Krantz, a Nazi supporter in Germany, offers a chillingly honest explanation of her own passivity, faced with a neighbour and friend newly forced to wear a Jewish star on her coat: 'I was so sorry about that… such a nice woman… but really, just like today, you can't help everywhere.' Seeking to understand the rare instances where a local population withheld cooperation from the Nazis — Rees cites the singular example of Denmark — he concludes that there can be 'no simple explanation… a combination of factors all came together at this moment'.
What of the lessons? Reading the book in the days following the election of a new US president, one hesitates to draw parallels. Yet Donald Trump does not help us with the language of swamps, which also permeated Nazi discourse; and his tweets about flag-burners (who should face consequences, 'perhaps loss of citizenship or year in jail!'), mirror the views of Hermann Goering ('he who offends this [Nazi] flag insults the nation'), distinguishable only by the exclamation mark. When Rees describes the Führer as being 'not a "normal" statesman, and one for whom it did not matter … that his "facts" were wrong', who comes most immediately to mind?
Time will tell whether Brexit and a Trump presidency will herald the unravelling of the post-second world war settlement, arrangements originally intended to prevent the Nazi horrors from being repeated. Warts and all, bodies like the EU, the European Convention on Human Rights and Nato were intended to bind like-minded countries together, establishing a club whose membership was based on liberal free trade and investment, an end of war as foreign policy, and minimum rights for every human being.
Philippe Sands is a QC at Matrix Chambers, a law professor at University College London, and the author of East West Street.


text:
The NBA Is Letting Its Stars Shine on and off the Court, Making the League's Games Must-See TV
Standing behind its outspoken players attracts a younger audience
Giannis Antetokounmpo and Joel Embiid are the centerpieces of their teams' marketing strategies. Golden State stood behind Steph Curry when he publicly rebuked President Donald Trump. Sources: Getty Images
By A.J. Katz
From LeBron James to Kevin Durant and Russell Westbrook to Stephen Curry, the level of play and talent that exists in today's National Basketball Association makes the product as captivating as it's ever been. The games are intense, exciting, fast-paced, and the on-court rivalries—between teams and even individual players—are fierce. The NBA is separating itself from its peers as the league stands behind its outspoken players and attracts a younger audience.
And that excitement also is showing up in the ratings.
Per Nielsen data, the combined average TV viewership for NBA national broadcasts on TNT, ESPN, ABC and NBA TV is 1.4 million viewers, which is up 17 percent from the 2016-2017 regular season and the most-watched start to a season since 2012-2013. That's also the biggest ratings growth in North American pro sports, and outpaces the majority of linear television, which has largely seen ratings decline. The growth is particularly strong among the younger demographics that TV advertisers crave, including adults 18-34 and 18-49, unlike Major League Baseball, which remains most popular among Baby Boomers.
"This is a very tough, coveted demographic we're talking about here, and a tough one to reach in a linear way," said Turner Sports ad sales evp Jon Diament. "NBA fans do not watch traditional TV. They're often male, young and millennial. … They typically don't have the traditional viewing patterns that you'll find in the TV landscape. Then, there's the viewership offline, on social and on digital, whether it's the live games or anything around the league. That's exploding as well."
To steal a line from the 1990s NBC marketing department, it's apparent that the NBA has become "must-see TV."
"There's a long tradition in the NBA going back to Oscar Robertson and Bill Russell to people who were passionate and engaged on important social issues."
Pam El, NBA CMO
In addition to the exciting action on the hardwood, a case can be made that TV ratings growth for the NBA on both a national and regional level has to do with how the league stands behind its stars and markets them.
"The nuances of the NBA game allow for a better platform to market the league," said former Warriors CMO Chip Bowers, who recently left the organization for MLB's Miami Marlins. "You only have 10 players on the court at a time … with no helmet or hat on. They become recognizable."
That contrasts with the NFL, where there are 53 players on the roster and they're covered in protective gear. "It's a little harder for the players to brand themselves as individuals, as a result," Bowers added.
NBA superstars use social media to establish their brand, and also as a soapbox to discuss controversial societal issues. The league actually encourages this and it generates little controversy, unlike the NFL, which has seen a great deal of political blowback.
"There's a long tradition in the NBA going back to Oscar Robertson and Bill Russell to people who were passionate and engaged on important social issues," said NBA CMO Pam El as she reaffirmed the league's support of its players. "It's a culture that's been passed down from player to player."
In addition to the league office, fans and team executives support players for speaking their truth.
Golden State's only request is that players do some research to ensure they're speaking from a position of knowledge, as opposed to doing it in a reactive manner. "Our players see the value in that," said Bowers. "They want to be taken seriously. I don't think they look at social media as a platform just to be heard, but as a platform where they can actually create some change."
NBA teams are making a strong effort to market their young stars both to the local community and globally in a variety of ways, ingraining them as part of culture.
"The NBA and its players are very effective at reaching fans through social media, said Paul Hardart, marketing professor at the NYU Stern School of Business. "They've done a great job with connecting with broader cultural trends, whether it's with music—Drake and Jay-Z citing the game in their songs—or fashion, to the point where the NBA has become its own fashion brand to some degree."
"[Players] want to be taken seriously. I don't think they look at social media as a platform just to be heard, but as a platform where they can actually create some change."
Chip Bowers, former Golden State Warriors CMO
The Milwaukee Bucks, currently celebrating their 50th anniversary, are highlighting their young Greek superstar Giannis Antetokounmpo as a connection between the franchise's history and its future. The team is tying "Giannis to the biggest legends in Bucks history to bring a conclusion to our 'Own the Future' campaign, and set a frame of reference for our championship expectations," Bucks CMO Dustin Godsey said.
The Philadelphia 76ers feature the dynamic duo of Joel Embiid and Ben Simmons, who are in their early 20s and are easily relatable to fans.
Philadelphia 76ers CMO Katie O'Reilly said they've been showcased in game promotions, special edition jerseys and season ticket campaigns. "Joel has become a larger-than-life ambassador for this team, city and league," she said.
With up-and-coming, camera-friendly stars like Antetokounmpo, Embiid and Simmons, in addition to the household names, the NBA is firing on all cylinders right now. "The league is culturally relevant, globally, and competition on the floor has been amazing," said Diament. "You have a lot of powerhouse teams with a lot of superstars on them. There have been a lot of stories, a lot of trades, a lot of drama, all of which are keeping fans interested and engaged."
This story first appeared in the Feb. 19, 2018, issue of Adweek magazine. Click here to subscribe.
A.J. Katz
@ajkatztv aj.katz@adweek.com A.J. Katz is the senior editor of Adweek's TVNewser.

redpajama_set_name: RedPajamaCommonCrawl


It is Christmas and two princess sisters are celebrating it with a new friend. One of the sisters fell in love with him and the feelings were mutual. So all they want to do this Christmas is spend it kissing, but the other princess is very jealous. Click on them to let them kiss and as you do, the love bar in the bottom part of the screen will start filling. But when you see the other sister looking, let go and act as nothing special is happening. You will be save, but the love will start decreasing slowly. Your goal is to fill up the bar completely before the timer in the upper left corner of the screen runs out. Also there you can see your score. Don't get caught, because it will be game over immediately. Can you get a high score in this fun game? Have a wonderful time!


MCLEAN, Va. (May 3, 2016) – DynCorp International Inc.'s (DI) parent Delta Tucker Holdings, Inc., will host a conference call at 11:00 a.m. Eastern Time on Tuesday, May 10, 2016, to discuss results for the first quarter 2016. Lou Von Thaer, chief executive officer and Bill Kansky, chief financial officer will review financial results and business developments.
To participate by phone, dial (866) 871-0758 and enter the conference ID number: 4174267. International callers should dial (706) 634-5249 and enter the same conference ID number above.
A telephonic replay will be available from 2:00 p.m. Eastern Time on May 10, 2016, through 11:59 p.m. Eastern Time on June 10, 2016. To access the replay, please dial (855) 859-2056 or (404) 537-3406 and enter the conference ID number.
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text:
Q: Passing Lamda function to Generic function not working I am playing with Kotlin and I am trying to convert a working Scala code to Kotlin. Everything seems to go pretty well but the compiler gives me this error and I dont know how to handle it.
Type mismatch: inferred type is Any but ExQuestion was expected for this line: return makeMap(questions, add2)
I am using a generic function because I need to access members of type A when building the map and the members would be visible through the lambda function provided.
Here's the code which you can copy into the Kotlin sandbox:
data class ExQuestion(val area: String, val rId: String, val text: String, val rIdAnswer: String, val line: Long)

fun main() {

    fun <A> makeMap(list: List<A>, addValue: (A, MutableMap<String, A>) -> Unit): Map<String, A> {
        val map = mutableMapOf<String, A>()

        for( item in list) {
            addValue(item, map)
        }
        return map
    }

    val add2: (ExQuestion, MutableMap<String, ExQuestion>) -> Unit =
            { question: ExQuestion, map: MutableMap<String, ExQuestion> ->

                val key = question.rId
                if (map[key] == null) {
                    map[key] = question
                } else {
                    println("Id Frage mehrfach vorhanden - " + key)
                }
            }

            val questions = listOf(ExQuestion("Area", "Q01", "text", "A01",1))

        return makeMap(questions, add2)
}

Working code:
data class ExQuestion(val area: String, val rId: String, val text: String, val rIdAnswer: String, val line: Long)

fun main() {

    fun <A> makeMap(list: List<A>, addValue: (A, MutableMap<String, A>) -> Unit): Map<String, A> {
        val map = mutableMapOf<String, A>()

        for( item in list) {
            addValue(item, map)
        }
        return map
    }

    val add2: (ExQuestion, MutableMap<String, ExQuestion>) -> Unit =
            { question: ExQuestion, map: MutableMap<String, ExQuestion> ->

                val key = question.rId
                if (map[key] == null) {
                    map[key] = question
                } else {
                    println("Id Frage mehrfach vorhanden - " + key)
                }
            }

            val questions = listOf(ExQuestion("Area", "Q01", "text", "A01",1))

    val map = makeMap(questions, add2)
    println(map.values)
}

A: I'm not sure what your question is, but you can convert your list of questions to a map keyed on rId by doing:
val map = questions.map { it.rId to it }.toMap()
println(map)

Result:
{Q01=ExQuestion(area=Area, rId=Q01, text=text, rIdAnswer=A01, line=1)}

Update in response to comments.
You can achieve that without a mutable map by doing something like this:
val map = questions
    .groupBy { it.rId }
    .mapValues { (key, values) ->
        if (values.size > 1) println("Id Frage mehrfach vorhanden - $key")
        values.first()
    }

However, I think your mutable map solution is fine and arguably clearer, so this is just for demonstration.

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ASSISTID is an EU Marie Curie research and training programme funding up to 40 postdoctoral researchers who are examining how technology can support people with intellectual disabilities and/or autism in education, employment, community participation and independent living. It is cofunded by the EU and the charity RESPECT.
ASSISTID is cofunded by the charity RESPECT and the European Union's Seventh Framework Programme for research, technological development and demonstration under grant agreement no PCOFUND-GA-2013-608728. RESPECT are funding 60% of the project costs with the EU funding 40%.


text:
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The Prodigious War	History
The war between Antiford and the Prush Empire over the rights to the Prodigious Canyon.
Also sometimes referred to as the "Prush-Antiford War".
Tensions between Antiford and The Prush Empire had been rising steadily since the early 1870s. Harold II and the VonKresser family had managed to keep the peace. In 1874, Harold II died, leaving his son, Harold III, heir to the throne. Harold III was a very different man from his father. He was short tempered and swift to take violent action.
Desiring control over the resources in the Prodigious Canyon, Antiford declared war on the Prush Empire on the 10th of Firch, 1879. The conflict was bitter on both sides.
In 1883, Antiford was in a stalemate with the Prush Empire. Both sides were evenly matched. The nation's engineers were inventing at an amazing pace and being stifled by the politics of the time. The King attempted to court the engineers, however, it was understood that it was simply a way to obtain new technologies to try and win the war.
Both nations destabilized into revolutions, see Antiford's and Prush's, and a treaty was signed calling for a permanent cessation of hostilities and officially, neither nation has a recognized claim to the canyon. This is an internationally-recognized document and also states that only people who live within the canyon, such as the city-state of Conwell, can claim political right to it.
The Order of the Badger is the ultimate authority on all things canon and encyclopedic.


text:
House of Chains (Malazan Book of the Fallen #4)
Author(s): Steven Erikson
In Northern Genabackis, just before the events recounted in GARDENS OF THE MOON, a raiding party of savage tribal warriors descends from the mountains into the southern flat lands. Their intention is to wreak havoc among the despised lowlanders, but for the one named Karsa Orlong it marks the beginning of what will prove an extraordinary destiny. Some years later, it is the aftermath of the Chain of Dogs. Coltaine, revered commander of the Malazan 7th Army is dead. And now Tavore, elder sister of Ganoes Paran and Adjunct to the Empress, has arrived in the last remaining Malazan stronghold of the Seven Cities to take charge. Untested and new to command, she must hone a small army of twelve thousand soldiers, mostly raw recruits, into a viable fighting force and lead them into battle against the massed hordes of Sha'ik's Whirlwind. Her only hope lies in resurrecting the shattered faith of the few remaining survivors from Coltaine's legendary march, veterans one and all. In distant Raraku, in the heart of the Holy Desert, the seer Sha'ik waits with her rebel army. But waiting is never easy. Her disparate collection of warlords - tribal chiefs, High Mages, a renegade Malazan Fist and his sorceror - is locked in a vicious power struggle that threatens to tear the rebellion apart from within. And Sha'ik herself suffers, haunted by the private knowledge of her nemesis, Tavore...her own sister. So begins the awesome new chapter in Steven Erikson's MALAZAN BOOK OF THE FALLEN - an epic novel of war, intrigue, magic and betrayal from a writer regarded as one of the most original, imaginative and exciting storytellers in fantasy today.
Advertising in EMPIRE, STARBURST and SFX. Nationwide adrail campaign.
An archaeologist and anthropologist, and a graduate of the Iowa Writers' Workshop, Steven Erikson lives in Winnipeg. His first fantasy novel, GARDENS OF THE MOON, was shortlisted for a World Fantasy Award and the second, DEADHOUSE GATES, was voted 'one of the 10 best fantasy novels of the year'. The third and fourth books in his epic Malazan Book of the Fallen sequence - MEMORIES OF ICE and HOUSE OF CHAINS have each received remarkable critical acclaim, confirming him as one of the most significant fantasy writers of his generation.
Imprint : Bantam Books Inc
Dimensions : 179mm X 108mm X 45mm
Availability date : September 2003
Dewey classification : 813.54
BIC subject : Fantasy
Illustrations : 3 maps
Author : Steven Erikson
Edition : New edition


text:
Fritz Friedländer
Fritz Friedländer was born on 3 February 1920 in Stade.
His father owns the Friedländer & Wertheim bank together with Moritz Wertheim. In 1933 Fritz celebrates his bar mizwa in Stade. Until 1935 he attends the athenaeum, which he is the only Jewish student to leave because of increasing discrimination. Friedländer and Wertheim wind up their last affairs and their bank is taken over by their attorney. Friedländer sells their house a few days after Kristallnacht and they prepare for emigration. In addition to the so-called Jewish property tax of 2850 Reichsmark they have to pay another 2350 Reichsmark for the emigration tax and for taking the removal items with them. Finally, all jewellery has to be handed in. On 23 April 1939 the couple leaves Germany via Hamburg and travels by ship to England. Their daughter Lotte has already emigrated there. Fritz' parents and sister Lotte survive
In the preceding years Fritz had been preparing to emigrate to Palestine. He left for the Netherlands in mid-1938 and arrived in the Werkdorp in July. After the Werkdorp was evacuated on 20 March 1941, he found shelter with the Aron family on Stadionkade in Amsterdam. He belonged to the June group, the 'werkdorpers' who were rounded up during the second major razzia in Amsterdam on 11 June 1941 and deported to Mauthausen via camp Schoorl in a group of 300 Jews, 57 of whom were werkdorpers. There they had to perform forced labour in stone quarries and/or undergo medical experiments. Within three months of his arrival Fritz is murdered on 11 September 1941.
Johanna Anna Friedländer-Brasch , * 26-07-1891 in Berlin † 1979 in London and
Elieser Gotthelf Friedländer, * 19-04-1878 in Stade † 18-04-1959 in London
Stade, Neuwerk 9
Amsterdam, Stadionweg 129 (fam. Aron)


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text:
The Day He Snapped
Kinley Waltman, Staff Writer|May 5, 2022
Beware of the beast within. Photo by Morgan Maxwell.
At 11:43 p.m., it was silent. The only sound was the crickets chirping and the breeze of the wind slapping against the tree leaves. Carson's heart was pounding as he hurried through the chilling woods. His leg was throbbing with pain, and blood was trickling down it. Carson looked around and noticed his vision was blurring. He was losing consciousness. He heard the sound of John's whistle following him, yet he was too panicked to realize how fast he was sprinting. Thump! Carson toppled over a mossy rock and smashed his right arm on the razor-sharp, jagged edge.
On top of a wounded leg, he now also had a broken arm. Just as he thought he had lost John, he heard the sound of granulating leaves near him. He was close. Carson limped eagerly to the nearest tree, and there he laid with a sigh. He waited a few moments and then slowly scanned the area. He saw nothing but darkness.
"Hello…is anyone there?" Carson called out.
He waited for a moment and heard nothing, so finally, he allowed his body to relax and passed out from exhaustion. Carson awoke to the sound of heavy breathing, questioning if it was a dream or not. Before he could open his eyes, something yanked from behind the tree.
Earlier in the day, it was the celebration of America: July 4th. John, Carson, and Gabby planned to take a road trip in John's car to light some fireworks up on a mountain top. Little did Carson and Gabby know that was not going to happen. John went to pick up Gabby and Carson from Gabby's house since Carson was already there, working on her dad's truck. As John pulled into her driveway, a comforting hug greeted him from the rolled driver's window.
"Hi, John!" Gabby exclaimed with excitement.
"Hi, Gabby," John muttered as he rolled his eyes, clearly annoyed by her enthusiasm. Gabby is known for being the peppy over-reactor at their high school.
"Come on, love birds! Let's start heading there, so we can set up before it gets too dark!" Carson shouted. One by one, Gabby and Carson loaded into the car.
There was a silence as they drove down the deserted road. "So, how's school, guys?" Carson asked, breaking the awkward silence.
"Eh, it's alright. However, I'm not exactly the sharpest knife in the drawer," John stated.
"What does 'I'm not exactly the sharpest knife in the drawer' even mean?" Gabby questioned.
"It's a saying, Gabby. It just means that you're not the best at things compared to others," Carson explained, rolling his eyes.
John's palms started sweating as he heard the word 'knife' reflected at him. He began to hallucinate that Gabby was his mom. John often got flashbacks of his mom's murder. He saw it all happen, and she died right in his arms. Yet, the worst thing is he could do nothing about it. It was too late to call 911. He wanted revenge on the robber that stabbed his mom in the neck four years ago. John couldn't take it anymore. The twists and turns of the road were only fueling his delusions.
Errrrrt. The car stopped suddenly. Carson and Gabby jolted upwards. John felt a wave of dizziness rush over him, and sweat poured down his forehead.
"Are you okay, John?" Carson asked nervously. No response.
"Is everything alright?" He continued. John's anger was visibly rising.
"I need both of y'all to get out of my car…now!" shouted John. John knew what would happen if they didn't, and neither moved a muscle. They sat perfectly still.
"I said get out of my car!" John yelled again. No one moved. They were both petrified to know what would happen if they did.
"I need some air," John declared, followed by an, "I'm sorry."
John got out of the car and slammed his door shut. He put his hand on top of his head and circled the car. Terrible thoughts ran through his mind. Every time he looked at Gabby, it reminded him of his mom, and he hated her for it. John had no choice but to kill her.
John slowly moved to the back of the car and opened the trunk. He rummaged through the fireworks, his clothes, and football gear. Finally, he found it; an old pocket knife. A perverted grin crept across the corners of John's mouth. He slipped the object into his back pocket and moved to the rear doors.
"Gabby, can I talk to you real quick in private, please?" John asked, opening the door on her side.
"Sure!" Gabby replied happily.
She hopped out of the car with excitement, smiling from ear to ear. She thought he would tell her that he liked her, but little did she know it was the opposite.
John quickly pulled her into a hug, and before she could react, he grabbed the knife out of his back pocket, flipped it open, and jabbed it into her neck. He slowly pulled away, allowing her to drop dead on the pavement. Blood was oozing out of the left side of her neck. Carson let out a scream. Before he knew it, John ripped open the opposite door and stabbed him viciously in the leg to keep him from running away. But Carson pulled back, staggered out of the car, and traveled into the woods.
Fight for Fire
What I Would Give
A Glimpse into the Mind of a High Schooler
That Song Burns
No Better Time for the Holidays
Winter Is Here
Drop of The Sea
The Uglies


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What would make not one but two Macs suddenly have their screens go black? We'll unravel that mystery along with a Dumb Question from John Ornsby asking if it's ok to partially turn off System Integrity Protection (SIP). I'll give you a review of the Tenba DNA 8 Messenger Bag and then we'll close out the show with Security Stuff from Bart Busschots.


text:
Zeitgeist: Sabres seek permission to interview other Babcocks for vacant coaching position
One of them has got to be as good as the "real" thing.
By Dan Saraceni@cultureoflosing May 22, 2015, 11:00am EDT
Share All sharing options for: Zeitgeist: Sabres seek permission to interview other Babcocks for vacant coaching position
(insert) A bunch of Babcocks on line for a job.
Spurned in their attempts to sign Mike Babcock, the Buffalo Sabres are continuing their search for a coach by interviewing everyone in North America that shares a last name with the former Red Wings boss.
"We'll find the right Babcock for us," general manager Tim Murray told The Buffalo News. "It's just a matter of time. We'll do our due diligence and find a Babcock that best fits our team."
The team has already received permission to speak with 47 Babcocks from New York, Pennsylvania, New Jersey, Connecticut and Ontario, and have calls out to 30 more Babcocks extending down the East Coast. A search for Canadian Babcocks in Quebec, Manitoba and Saskatchewan will begin next week, according to Murray, and West Coast Babcocks should start filtering in by early July.
"Just because we'd prefer a coach in his early 50's with reddish hair, a strong chin and a hard working, soft-spoken attitude but who also has the last name Babcock, it doesn't mean we're hung up on the guy."- Tim Murray
"We have a Babcock plan and we're sticking with it," Murray said. "We'll know who the Babcock is when we find him or her."
Mike Babcock - the one who is the former Detroit coach, Stanley Cup winner and gold medalist - signed an 8-year, $50 million contract with the Toronto Maple Leafs this week, ending a 10-year run with the Red Wings. The move to Toronto came as a surprise as early reports had Babcock choosing between Detroit and Buffalo. But Murray insists that he's not bitter about being left at the alter by a coach who possibly used his team as a negotiating ploy to get a bigger payday from a division rival.
"This isn't personal," he said. "Just because we're looking for our own Babcock doesn't mean we hold any ill willtowards Mike Babcock. And just because we'd prefer a coach in his early 50's with reddish hair, a strong chin and a hard working, soft-spoken attitude but who also has the last name Babcock, it doesn't mean we're hung up on the guy."
The other Babcocks brought in to interview with the Sabres are relishing the opportunity to coach in the NHL, even if the vast majority of them have no previous coaching experience.
"Sometimes it's great to be a Babcock," said Roy Babcock, who runs a PVC outlet in Sault St. Marie, Ontario. "One day, I'm hauling pipes to a job site, the next day, the Sabres say they want me to coach them. It's a Babcock's dream."
"They offered all of us Babcocks a tour of the arena and the locker rooms and stuff," said 11-year old Chayse Babcock, who came with his family including his parents, grandparents and six brothers and sisters from Sudbury, Ontario. "My sister Hannah says she wants to be the first girl to coach in the NHL, but I'm here to see if I can steal some jerseys and sell them on ebay. Sabres suck. Go Leafs Go."
"I think I'm ready for the challenge," said Horace Babcock of Warwick, NY. "I mean, how hard could coaching in the NHL be? Half these guys don't even look like they know what the hell they're doing anyway.
"Just being a Babcock probably makes me more qualified than most of them."
This is not real. The Sabres are wistfully interviewing coaches with last names other than Babcock while writing his name all over their Trapper Keepers.
Zeitgeist: Flyers Name Sylvester Stallone Head Coach
In Surprise Move, New York Rangers Name Mike Milbury Head Coach
Exclusive: Pierre McGuire's Job Application for the Penguins' GM Position
In Innovative Move, NY Islanders Name Facebook Page President of Hockey Operations


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Vice President Mike Pence makes unannounced visit to Iraq to visit US troops
Posted 9:43 am, November 23, 2019, by CNN Wire
Vice President Mike Pence made an unannounced trip to Iraq to visit US troops ahead of Thanksgiving, landing in the country Saturday amid violent anti-government protests.
Pence visited the Al Asad Air Force Base in western Iraq, where he was greeted by the US Ambassador to Iraq and several military officers.
He received a classified briefing from the commanding officer on the base and spoke by phone with Iraqi Prime Minister Adil Abdul Mahdi.
On the call, Pence told Mahdi that he traveled to Iraq in part to "extend gratitude to the men and women (of the US military) serving in your country," according to the TV travel pool with the vice president.
Mike Pence and his wife Karen Pence later served the troops a Thanksgiving lunch, with the Vice President serving turkey and Mrs. Pence handing out yams.
As service members came up to them, the Pences asked each where they were from and thanked them for their service.
Vice President Pence then delivered remarks to about 150 service members in a hanger. "The President and your Vice President and the American people are behind you 100%," Pence said, according to the TV travel pool.
Pence told the service members that the Trump administration was "fighting to secure another pay raise for the men and women in the military," but added "we need Congress to do their jobs," the TV travel pool reported.
"Congress should have finished their work months ago but you know that partisan politics and endless investigations have slowed things down," Pence said, according to the pool, referring to the House impeachment proceedings into President Donald Trump and Ukraine.
Pence also mentioned the US military raid that killed ISIS leader Abu Bakr al-Baghdadi. The Vice President recounted how he was in the White House Situation Room with Trump when they received word that Al Baghdadi was killed.
Pence also made a stop in the Iraqi city of Erbil where some US special operations forces have routinely been based.
Trump had visited US troops in Iraq at the same US Air Force base last year around Christmas — the first trip he made to a war zone as President.
On Friday, ahead of Pence's arrival, Iraqi security forces dispersed protesters on a bridge in central Baghdad, killing three people and wounding 26 others, security forces and activists said.
More than 300 people have been killed and 15,000 injured in Iraq since the start of anti-government protests in October, according to the Iraqi Parliamentary Human Rights Committee. Protests have erupted in Baghdad and in several Shiite provinces in the south over unemployment, government corruption and the lack of basic services — such as electricity and clean water.
Filed in: Military, News, Politics
Topics: Iraq, Mike Pence, military
Trump threatens Iran after protesters attack US embassy in Baghdad
Military News Politics
Iran attacks two Iraqi bases housing US forces in revenge for Soleimani's death
US sending additional forces to protect embassy threatened by protesters in Iraq
Vice President Pence rallies Republicans in Virginia Beach ahead of Election Day
President Trump announces Taliban talks have restarted on surprise Thanksgiving day Afghanistan visit
Vice President Mike Pence says ceasefire agreed in Syria
US strikes 5 facilities in Iraq and Syria linked to Iranian-backed militia
Vice President Mike Pence says he plans to help campaign in Virginia ahead of Election Day
US claims responsibility for Baghdad attack that killed Iran Revolutionary Guards commander
Iran warns of 'harsh retaliation' after top general killed in U.S. airstrike while visiting Iraq
Inside President Trump's sneak Thanksgiving trip to Afghanistan
US military mistakenly circulates letter suggesting withdrawal of American troops from Iraq
Watch: President Trump addresses nation on Syria after Russia and Turkey announce agreement


What I found is that there are some problems in path finding in 1.13.
First, AI cannot find path over the fence, so when AI decides in RED state to seek enemy and calls InternalGoAsFarAsPossibleTowards, it fails.
But when the same AI sees enemy, he calls FindBestPath in FindBestNearbyCover and it works, so he can jump over the fence and move towards closest enemy.
This can be easily checked in Wildfire landing sector, for example, will require AI decision tracing or manual calling of InternalGoAsFarAsPossibleTowards.
Second problem I found is that FindBestPath returns different AP cost for the same path than EstimatePlotPath.
And when testing the path in UI mode (for player controlled merc), the EstimatePlotPath shows correct result while gubAIPathCosts shows incorrect result.
Note: this was tested on stable 7609 release but I haven't seen any related fixes for development trunk.
Calculations are different. For example "PlotPath" function which is used by "EstimatePlotPath" runs function "TerrainActionPoints" to get the points needed to cross certain tiles. Function "FindBestPath" doesn't use "TerrainActionPoints". Instead it has its own code block to calculate the terrain stuff which seems redundant to me. Maybe this could be consolidated a bit which would probably make it easier to read as well. Unfortunately I don't have time to go through the code.


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The Epidemiology of Stargardt Disease in the United Kingdom.
Spiteri Cornish K., Ho J., Downes S., Scott NW., Bainbridge J., Lois N.
PURPOSE: To establish the incidence of Stargardt disease (STGD) in the United Kingdom and define baseline characteristics of newly diagnosed patients. DESIGN: Prospective epidemiologic study undertaken under the auspices of the British Ophthalmological Surveillance Unit (BOSU). PARTICIPANTS: New incident cases of STGD in the United Kingdom reported by ophthalmologists to BOSU during a 12-month period, from June 1, 2012, to June 1, 2013. METHODS: Once a new case of STGD was reported, an incident questionnaire was sent to the reporting ophthalmologist, followed by a follow-up questionnaire (when required) 6 months later. MAIN OUTCOME MEASURES: Patient demographics, baseline characteristics including visual acuity, and findings on slit-lamp biomicroscopy, as well as diagnostic technologies undertaken at baseline and their findings, including electrophysiology, fundus autofluorescence, fluorescein angiography, and genetic testing. RESULTS: A total of 81 new cases of STGD were reported during the 12-month period of the study; baseline data were obtained on 70 (86%) of these. These results suggest an annual incidence in the United Kingdom of between 0.110 and 0.128 per 100 000 individuals. The median age of patients at presentation was 27 years, the majority were British (77%), and most (90%) were symptomatic, with a median visual acuity of 0.52 logMAR (Snellen equivalent 20/66). CONCLUSIONS: Even considering possible limitations related to incomplete ascertainment, this is the first prospective epidemiology study that provides indication of the incidence of STGD in the United Kingdom. The incidence of STGD estimated herein appears to be lower than that repeatedly quoted in the literature. Fundus autofluoresence and electrophysiology testing are most commonly used for the evaluation of patients with STGD.
10.1016/j.oret.2017.03.001
Ophthalmol Retina


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Prime Minister of Dominica and Minister of Finance, Honorable Roosevelt Skerrit has announced a new strategy adopted by his administration, to further enhance the housing revolution project, currently being developed in the Carib Territory.
The Dominican leader said that this new strategy will ensure that children and grandchildren who care for the senior citizens will now have the opportunity to live in a home, close enough to that relative.
He believes that the benefits of such a strategy is two-fold.
Honorable Skerrit also announced that the government is now finalizing plans to construct thirty nine (39) additional homes for kalinago residents.
They have already commissioned a number of houses in various hamlets in the Carib Territory.


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» Studio Ghibli producer dishes the dirt on Hayao Miyazaki, Your Name, and their next big project
Studio Ghibli producer dishes the dirt on Hayao Miyazaki, Your Name, and their next big project
Oona McGee Dec 7, 2016
Why is Studio Ghibli located in Koganei? Why are there two girls in My Neighbour Totoro? When will Miyazaki's next film be released? Toshio Suzuki answered all these questions and more at an event last night in Tokyo.
When you think of Studio Ghibli, a number of internationally acclaimed anime feature films come to mind: My Neighbour Totoro, Princess Mononoke and of course, Japan's highest-ever grossing movie, Spirited Away. While many of the animation studio's big films owe a lot to the mastery of its founding directors, Hayao Miyazaki and Isao Takahata, the fact that these films were made at all is thanks to Studio Ghibli's co-founder and producer Toshio Suzuki. Suzuki is the man that the directors turned to for guidance when selecting new projects and the one they confided in when things became difficult, and as the driving force behind the scenes, pulling things together and bringing their works to the world, Suzuki has a lot of stories to tell about the industry. Now he's put some of these tidbits into a new book called Ghibli no Nakamatachi, or My Ghibli Colleagues, which he spoke freely about at a book event last night, which was also attended by his esteemed junior colleague, Tomohiko Ishii.
Tomohiko Ishii has also written a book, called Jibun Wo Suteru Shigoto Jutsu, which loosely translates to The Throw Yourself Away Work Technique. As Suzuki's long-time assistant, Ishii has worked as assistant producer on a number of Studio Ghibli films, including Howl's Moving Castle and Spirited Away. In his new book, he shares many of the things he's learnt while working under Suzuki at the animation studio, including the importance of colleagues and some tips for balancing the demands of work and personal life. As the one person selected to be Suzuki's assistant from a pool of roughly 300 candidates when he was in his early 20s, the now 39 year-old recalled his joy when Suzuki told him they should relate to each other as equals, but in true Japanese kohai-senpai (junior-senior) style, Ishii deferred largely to Suzuki during the event held last night in the Ichigaya district of Tokyo.
Suzuki was his usual, charming self at the event, telling funny stories and recalling interesting moments from his working life, while the audience laughed at all his humorous anecdotes. He was also surprisingly candid during the talk, making a number of surprising revelations that had everyone at the venue, and thousands watching the broadcast as it streamed on Line Live, on the edge of their seats with excitement. Let's take a look at some of the interesting secrets revealed by the producer below.
THE IMPORTANCE OF INCREASING YOUR CIRCLE OF COLLEAGUES
As one of the key points from Ishii's new book, Suzuki gave an example of why colleagues, and rivals, can be important to working relationships. According to the producer, Miyazaki and Takahata enjoyed a friendly rivalry while working on their respective projects, My Neighbour Totoro and Grave of the Fireflies, before the films were released together on the same bill in 1988. Fans will know that the double-billing was born out of the need to secure funding for the release of both films, which posed a financial risk to investors. What many fans won't know, however, is the fact that Miyazaki had a number of reservations about the release. There was a day when Miyazaki told Suzuki he would give up on Totoro, given that it was being produced alongside Grave of the Fireflies, which was a much more literary piece based on a semi-autobiographical novel written by Akiyuki Nosaka about the hardships of World War II. Miyazaki kept reminding Suzuki that his film featured "idiotic" things like a cat that's a bus. While his concerns regarding the unusual double-billing are easy to understand, Suzuki explained that the friendly rivalry between the directors meant Miyazaki pushed for his film to be just as long as Takahata's. Initially, only one child was set to appear in My Neighbour Totoro, so she was given a sibling in order to increase the length of the film. It's often said that rivals help push you to be your greatest self, and Suzuki believes this was the case with the two directors.
WHY STUDIO GHIBLI WAS BUILT IN KOGANEI
Why is Studio Ghibli located in Tokyo's Koganei neighborhood? According to Suzuki, it's because of Miyazaki's first crush. With the audience and Ishii himself blown away by this revelation, Suzuki recalled the story in great detail. While Studio Ghibli was first located in Tokyo's Kichijoji district for a short time, this was an expensive area, so when they became serious about setting up the studio as it appears today, they decided to aim for an area between their home residences. With Miyazaki located in Tokorozawa in Saitama Prefecture, just north of the capital, and Suzuki located in Tokyo's Ebisu, they searched for places in between, but slowly, things began shifting towards Tokorozawa, until they finally settled on Koganei.
▼ The rooftop area of the studio in Koganei can be viewed on Google Maps.
Anyone who's been to the Ghibli Museum, which is located four kilometres (2.5 miles) east of the studio, will know it's a fair way away from the centre of the city, and it seems there's a more nostalgic, romantic reason why they decided to use this location. Decades ago, after looking at the studio's vacant site with a local real estate agent, Miyazaki and Suzuki went for a stroll around the area until it started to get dark, and then the two found themselves suddenly standing in front of a house. With Miyazaki looking wistfully at the building, Suzuki asked him what on earth he was doing, and the director revealed that this was where his first love lived. In fact, he was rejected by her right in front of this very house. He recalled the sad moment, and his long, lonely walk to Musashi-Sakai Station afterwards, before asking Suzuki to walk with him to that very station again, which the two did. From that day on, Koganei became the home of Studio Ghibli.
RELEASE DETAILS FOR MIYAZAKI'S NEW FILM "KEMUSHI NO BORO"
Hayao Miyazaki made international news recently when it was revealed that the director wanted to increase the length of the short film he was working on, Kemushi no Boro (Boro the Hairy Caterpillar), which was being made for exclusive screening at the Ghibli Museum. According to Suzuki, who affectionately refers to Miyazaki as "Miya-san", the feature-length project is one that the director first came up with at the same time as Princess Mononoke, with Suzuki advising Miya-san to proceed with Mononoke instead of the proposed caterpillar story at the time. After Suzuki suggested the director might like to work on bringing Kemushi no Boro to the screen during his retirement as a short film for the museum, a recent documentary which screened on national broadcaster NHK revealed that Miyazaki was now pitching it to Suzuki to become a full-length feature film, with a proposed release date of 2019. While the feature film is yet to be given the green light, it appears that Kemushi no Boro is still going ahead as a short, with Suzuki saying it's due to be completed in the spring, which means it should be ready to be screened at the Ghibli Museum as one of their in-house shorts in July 2017.
IMPRESSIONS OF MAKOTO SHINKAI'S ANIME FILM "YOUR NAME"
Given that Makoto Shinkai's Your Name has now surpassed all but one of Studio Ghibli's films in terms of takings at the box office, everyone was curious to hear Suzuki's answer when he was asked to give his impressions of the new film. According to Suzuki, Your Name's Toho producers wanted him to view the movie before it was released, as they were very nervous about its chance of success, given it was opening in the last week of summer. Suzuki viewed it and contacted them, telling them they had nothing to worry about. He mentioned that there are lots and lots of stories out there in the world, but one of the most popular tales relates to older sisters heading out on an adventure, and returning after a number of experiences. This is the same as Miyazaki's film, Spirited Away. Shinkai used this storyline effectively in his movie, and what impressed Suzuki was the fact that everything within the world of the film – the story, the dialogue, the music, and the dramatic characters – all really stood out in the viewing, which is rare. He also went on to say that what was interesting about the film was the fact that it could also draw on themes of loss from recent real-life events like the 2011 Tōhoku earthquake and tsunami. Suzuki finished by saying he saw a lot of Miyazaki's influence in the movie.
SUZUKI'S FUTURE WITH MIYAZAKI
Finally, wrapping up the talk, the producer was asked whether he would be producing the full-length Kemushi no Boro feature film proposed by Miyazaki. With a laugh, he replied, "I hope I can make it until the very end", saying that people who watched the NHK documentary will recall him remarking that Miyazaki will draw storyboards until he dies, so he's not sure whether he'll be alive long enough to see the film come to its completion. By deflecting the question with humour, it appears that no concrete plans for a feature film have yet been made, or if they have, they're not ready to tell any of us about it. Given that the two still meet regularly and enjoy a solid camaraderie, we still have our fingers crossed for a future Miyazaki-Suzuki feature film release.
Given that retirement is considered to be a time when one is reborn into a second childhood in Japan, where hobbies and passions can be pursued at leisure, retirement for these two doesn't mean they'll stop doing what they love. Which is lucky for us, seeing as we're not ready to live in a world without Studio Ghibli!
Story, photos © RocketNews24
Follow Oona on Twitter for more information about Studio Ghibli news from Japan.
(anime • Hayao Miyazaki • Kemushi no Boro • movies • Studio Ghibli • Tomohiko Ishii • Toshio Suzuki)
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agogo22 says:
Reblogged this on msamba.
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The market still remains in a poor state with supply outstripping demand in almost all product categories.
Wireless technology, the sensor market, and a high demand for larger capacity and faster memory chips are all driving the market forwards for consumers, manufacturers and distributors alike.
Although we have said it in previous updates, it remains vital that Original Equipment Manufacturers (OEMs) provide their Electronics Manufacturing Services (EMS) partners with sales forecasts as far out as possible so that supply chain disruption can be minimised.
Available stock in the marketplace continues to reduce with high service distributors taking advantage and increasing pricing even on commodity lines.
Micron are still experiencing difficulty in fulfilling open orders through distribution but have plans in place to open a new fab in Singapore to make 3D NAND Flash.
All Micron lines remain on allocation.
MLCC shortages have been reported to extend into 2020.
Vishay's fab constraints are much the same as they were in January.
Lead-times for certain families of diodes manufactured by On Semiconductor/Fairchild and Nexperia are over 30 weeks, in some cases allocation with high MOQ's.
Toshiba memory lines are on allocation.
It should be considered, that supply vs demand will lead to increased prices across all products, and price rises will continue to increase whilst there is shortage of available product.
Toshiba are being pushed to sell to Bain Capital and are still waiting for regulatory approval after it missed it's 31st March deadline.
President Trump blocked Broadcomm's proposed takeover of Qualcomm (valued at $117 billion) over security concerns.
Qualcomm and NXP are still waiting for regulatory approval for their merger.
Microchip are set to acquire Microsemi for $8.35 billion.
Lead-times for offshore PCB's are now at expected levels following the recent Chinese New Year celebrations.


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The Massachusetts Bay Transportation Authority is the nation's oldest subway system, with traditions so enduring that the memory of Boston commuters runneth not to the contrary.
Like campaigns urging passengers not to be such jerks.
Last week the MBTA rolled out its latest — a "Courtesy Critters" advertising blitz starring animals in the role of etiquette instructors. The 2,400 posters going up on trains and buses feature pigs reminding riders not to "hog a seat," horses telling them not to "cause a stampede," and a trio of elephants imploring: "Don't spray your germs." Another shows a flock of parrots in a subway car. "Don't squawk on the phone," it admonishes T users. "We hate to clip your wings, but not everyone wants to hear your conversation."
Sound familiar? It was only 15 months ago that the T launched a campaign to go after seat hogs, open-mouth sneezers, and cell-phone blabbers with mock headlines reporting instances of polite behavior as if they were big news. "Man Gives Up Seat for Pregnant Woman!" announced one. Marveled another: "Couple Takes Own Trash from Blue Line Train!"
A year before that, the MBTA had enlisted Boston Celtics star Paul "The Truth" Pierce to record announcements chiding passengers to show common courtesy. "When you see someone who is elderly, disabled, or pregnant, don't just sit there — offer them your seat," Pierce urged. "Courtesy counts, and that's the truth!" Earlier still had been the attempt to encourage more thoughtful behavior by handing out Dunkin' Donuts gift cards to passengers who gave up their seats to the elderly or performed other acts of kindness.
The bad manners of Boston commuters is an old story (the Boston Elevated Railway was distributing a pamphlet on courtesy back in 1912), so I'm probably not going out on a limb by predicting that the new campaign isn't going to make much of a difference. But I have been wondering what Mr. Oka would make of it.
I met Mr. Oka, who is in his 80s and walks slowly with a cane, during a visit to Japan in January. He had arranged to show me some historical sites in Tokyo, and we used the city's vast subway network to travel distances too far to cover on foot. Several times, as we boarded a crowded train, I pressed him to take one of the few available seats. Invariably he refused, insisting that I take the seat.
"You are a visitor and my guest," he told me. "It wouldn't be right for me to sit while you stand."
"But, Oka-san, you are much older than I am and you have difficulty walking," I remonstrated. (Indeed, before we met in person he had warned me by e-mail that he was elderly and infirm.) "It would be disrespectful for me to take a seat and leave you without one."
I remonstrated in vain. I tried a religious argument, telling him that the Bible enjoins believers to "stand up in the presence of the aged and show respect for the elderly" as a sign of reverence for God. Mr. Oka, a nominal Buddhist, wasn't persuaded. On one train we actually had this debate in front of a row of seats designated for senior citizens — there was even a little sign depicting a rider with a cane. Still he wouldn't sit, so strong was his notion of what manners required.
Of course not every strap-hanger in Tokyo takes politeness quite so far. But based on my observations, courtesy and consideration for others are ingrained there to a degree that Green Line regulars would find astonishing. In a 10-day span, I must have boarded a subway, bus, or commuter train at least 50 times. Cellphones were ubiquitous, yet I never heard a ringtone — and only once did I see someone violate the taboo against talking on a cell in a public vehicle. Nor did I see passengers sprawl across three seats or leave sandwich wrappers and coffee cups in their wake. And though the rush-hour crowds in some stations were enormous, they managed to avoid the wrestling matches caused when riders insist on shoving their way onto a train before departing passengers can get off.
MBTA officials regularly observe that courtesy can't be compelled, only suggested. "It's unfortunate," Transit Police Superintendent Joseph O'Connor said last year, "but there is no mechanism to force people to have good manners." Yet there is such a mechanism, one that operates with striking effectiveness in the world's busiest subway system: strong social pressure. Japanese commuters expect each other to be polite, mindful, and quiet. As a result, Japanese commuters mostly are polite, mindful, and quiet.
Courtesy is contagious, even without cutesy posters. Alas, discourtesy is too, even with them.
Jeff Jacoby can be reached at jacoby@globe.com. Follow him on Twitter @jeff_jacoby.


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Criminal Defense Firm in Collin County Texas
December 1, 2020 By Leave a Comment
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Bo Kalabus
Bio: Bo began his legal career as a civil litigator and specialized in defending personal injury cases. After several years in civil practice, Bo turned his focus to starting his own law firm and developing a criminal defense practice to complement his experience on the civil docket. On September 4, 2010 the Kalabus Law Firm was proud to announce its affiliation with Rosenthal & Wadas L.L.P.
NOTHING ON THIS WEBPAGE SHOULD BE CONSIDERED TO BE LEGAL ADVICE. FOR LEGAL ADVICE, PLEASE CONSULT AN ATTORNEY.


NYFW Day 2 – it is less scary and more editorial.
We stroll around New York, where we find the cutest coffee shop and where I enjoy a cappuccino for no less than 30 minutes. I'm not a morning person so it is important for me to start my day right and enjoy my coffee in the morning: it sets my mood for the entire day J.
Finally the evening ends with a very theatrical show from Irina Shabayeva, former winner of Project Runway. She styles feathers, leather, big prints and lots of red. It looks divine, I feel like I just witness a new streak of greatness: the Russian ballet of fashion.


Endure at least 8000Pa pressure.
With hanging rings every one meter for easy suspension.
Standard sizes: 4"-60", standard length: 5m or 10m. Custom sizes are also available.
Rolling up for easy transportation and storage.


text:
Vincent Kohler Billon, 2007
(Polystyrene, Resin; 110 x 100 x 300 cm)
Click here for more of Vincent Kohler's work.
Via Design Observer / Photos by Geoffrey Cottenceau
Click for more: art, image of the day, sculpture, wood
Pork & Beans
Haven't posted any of these for awhile – here are some more old ones. Click images to enlarge / click here to view all.
Click for more: black books
Author and illustrator Edward Gorey, who died in 2000,
snoozing with his cats.
The Ivies score again. Columbia University Libraries announced this week that it received a gift of more than 700 drawings, etchings, and posters by Edward Gorey. The collection, donated by Andrew Alpern, a lawyer and architectural historian, includes nearly every edition of every work that Gorey published during his lifetime. (On a somewhat unrelated topic, it looks like there's a documentary on Gorey in the works.)
Gorey's original (and best) credits for PBS's "Mystery."
Click for more: art, authors, Edward Gorey, image of the day
. Pay attention
Ugly Casanova "Cat Faces"
from Sharpen Your Teeth (Sub Pop, 2002)
[photo: Bighorn Mountains, Wyoming, Spring 2007]
Click for more: music, snapshots, wyoming
One week in the new office
It's nice to have windows.
Click for more: snapshots
The Home section in this morning's New York Times (what would we do without the Times?) had a fantastic article about indoor wall gardens. Strath and I used to talk about how great it would be to have a wall of plants in the living room but we could never figure out how you would ever make it work.
(close-up of wall above)
Apparently there's an Ontario-based company, ELT, that sells kits to do this; prices for a one-square-foot panel start at around $40. I won't even begin to explain the many reasons why we need to make this happen in our apartment.
Photos above by Moris Moreno for the New York Times; more here.
Click for more: home improvement
Chloé canvas and leather sandal, $466 at farfetch.com.
Runway photo via style.com
Click for more: best foot forward, Chloe, fashion, Spring 2010 RTW
. Christopher Martin Hoff The Symphony: For Ed and Mary, 2010 (Oil on Linen, 24" x 22")
Hoff's show At the Wall – In His Wake opens tonight at Linda Hodges Gallery. Read an interview with the Seattle-based plein air painter at Best Of.
Click for more: art, image of the day
Short-Listed
The Tate has announced its shortlist for this year's Turner Prize:
1. Susan Philipsz, from Scotland but based in Berlin, records her own versions of pop songs and plays them in unlikely, out-of-the-way places.
Lowlands, 2010 (installation view).
(I really like the idea behind this work. It made me think of an installation in one of the subway stations in New York a few years ago that involved a recording of crickets. I had completely forgotten about it – I only caught it a couple of times and I have no idea who was responsible for it – but it was so nice to be surprised by it late at night on my way home from work. Even though I'd generally associate the noise with nature and the outdoors it had the funny effect of making me more acutely aware of my immediate surroundings, and it transformed the moment into something special.)
2. Angela de la Cruz calls her creations "everyday paintings." She starts with monochrome canvases that she then rips, shreds, or otherwise mutilates and manipulates into sculptural form.
Still life (table), 2000
3. Dexter Dalwood makes "history paintings" with pop cultural references.
Death of David Kelly, 2008
4. Otolith Group, a London-based duo, create films and installations that work with "media archives, histories of futurity, [and] the legacies of non-alignment and tricontinentalism." I guess they had something in the Ecotopia Triennial at ICP a couple of years ago, but I don't remember it.
A Long Time Between Suns, 2009 (installation view).
The finalists' work is scheduled to go on display at the Tate Britain on October 4, and the prize will be announced on December 6. You can see more photos of the artists' work here, and a complete list of past years' finalists and winners here – pretty fascinating. (The Telegraph and the Guardian are both cranky about this year's selection.)
. There's no particular reason I'm posting this, it's just one of my all time favorite photos by Bob Richardson... and sitting on a rocky beach, even if it's a little overcast, seems like it would be nice right now.
A book of Bob Richardson's photos came out a few years ago – get it here or from just about any other quality bookstore.
Click for more: bob richardson, image of the day, photography, terry richardson
It's Not Being Filmed, I Have To Remember
Jean-Michel Basquiat has been copied and eulogized in equally great measure, and it would be easy to dismiss another film about him. The thing is, his work continues to be exciting, and the story of his life seems more relevant than ever.
More info on Jean-Michel Basquiat: The Radiant Child, directed by Tamra Davis, at jean-michelbasquiattheradiantchild.com
Click for more: film, jean-michel basquiat, tamra davis, video
. Eikoh Hosoe Untitled, 1965, from the series Kamaitachi.
Eikoh Hosoe is giving a talk and signing books tomorrow night at Aperture Gallery in Chelsea (NYC), and on Thursday the National Arts Club will present him with the Medal of Honor for Lifetime Achievement in Photography. Kamaitachi – Hosoe's documentation of a visit to a farming village in Northern Japan – was originally released in 1969 in an edition of only 1000 copies, but has since been re-printed by Aperture. Order the book and get more info at aperture.org.
Click for more: eikoh hosoe, photography
Superconnected
It's a big day for Canadians and those who love them:
The New Pornographers Together
Broken Social Scene Forgiveness Rock Record
Both arriving today in the bins of your local music nerdery – go git 'em.
Addendum, via Pitchfork:
"When I found out our record was coming out the same day as Broken Social Scene I wanted to call Kevin Drew and shoot a little promo video, where it's like the two of us just facing each other on a windy day and then we embrace to the strains of 'Wake Up' by Arcade Fire. That would be like a dual ad for both of our albums. But I'm too lazy. I was distracted."
–A.C. Newman [New Pornographers]
Video: New Pornographers "Together" (click to play)
Click for more: broken social scene, music, new pornographers, video
Photo Finish
In his On The Street audio slideshow at nytimes.com (as well as in the print edition of today's paper), Bill Cunningham says goodbye to the Carnegie Hall apartment he's lived in for sixty years.
For over a century, the apartments in Carnegie Hall have been home to a vast assortment of writers, designers, photographers, dancers, actors, circus performers, floral artists, and creative people of all stripes; Cunningham occupied one of five remaining rent-controlled units which are being closed down so that the building can be fully converted into a music school. When he first moved to New York, Cunningham became a milliner and assisted the fashion photographer Ray Solowinski (above right); Solowinski's wife (above left) modeled Cunningham's hats. Click here to watch the slideshow.
For people as fascinated with Cunningham as I am (he's basically a national treasure at this point, in my opinion) it's great news that he is the subject of a new documentary, directed by Richard Press and produced by the venerable Philip Gefter, entitled Bill Cunningham New York – I can't find any clips online but you can read an article Gefter wrote about it at The Daily Beast and get a little more info at the film's website.
Click for more: bill cunningham, fashion, photography, ray solowinski
Two Brown Pelicans (the Louisiana state bird, recently removed
from the endangered species list) stand on the beach beyond
one of the protective booms laid just off the Gulf Coast shore this
week. Photo by William Colgin of the Sun Herald,
via A.P. and National Geographic.
The booms are part of an attempt to prevent the massive oil slick in the Gulf Coast from reaching the salt marshes at the mouth of the Mississippi River, as well as the rest of the Gulf Coast's fragile ecosystem (not to mention its tourism and fishing industries). The leaking sea floor oil well that is the source of the growing slick is currently spewing an estimated 5,000 barrels of crude oil per day (that's about 210,000 gallons) into Gulf Coast waters. As reported yesterday morning by the New York Times, some NOAA officials now fear that this amount may soon grow to "an order of magnitude higher than than that." The solution currently on the table to shut off the well will take an estimated "months."
Bird covered in oil from a 2006 Black Sea spill.
Via Marinephotobank on flickr.
I was going to rant further but I'm sure you know all about it by now so I'll spare everyone. While we're at it: on Tuesday British Petroleum reported that its profit more than doubled in the first quarter of 2010 thanks to rising oil prices. Congratulations. I guess that means you can afford to pay for the "clean up."


I received a number of emails from customers sharing how they try their best to avoid window strikes - using window silhouettes predominantly; however, it's difficult to evaluate their effectiveness as the general consensus is that houses with silhouettes on their windows still experience bird strikes.
Do they experience fewer strikes? Seemingly, yes. Is there robust scientific data to prove this, though? Not really. In lack of hard scientific data, it makes sense to - to my mind - proceed with the precautionary principle of applying a window silhouette to protect the birds from exposure to harm - in this case a pane of glass.
Birds aside, do more people walk into glass doors without stickers than those that have them at eye level? I would say so. And there's an entire industry dedicated to "glass manifestation" (putting stickers on shop doors/windows). I for one have previously walked into several doors/windows and not one of them had a window sticker - sorry, window manifestation. Pseudoscience? Perhaps. Painful? Yes very.
The window strike article started me thinking, though. The domestic setting is just one part of modernity for the 21st century garden bird, that's ventured into our towns and cities from rural settings. Modern commercial buildings use large areas of glass for maximum kerb appeal with little concern for bird strikes. Or so I thought until I saw this unique way a coffee shop had whipped up its logo into a silhouette to prevent window strikes of the human kind!
That aside, though, and seriously for a moment, it can only be good for the birds.
I'll be encouraging more retailers to do the same on my travels. Please let me know if you see an innovative window silhouette on your travels. A photo would be welcome.


text:
Drive Your Career
About MTE
Case Studies New-Form Tools | Stratford, Ontario
New-Form Tools | Stratford, Ontario
After setting up a facility in Stratford, New-Form Tools, a manufacturer of specialty blades and cutting systems, required two building expansions to accommodate growth. Our civil, structural and geotechnical engineering teams worked together to conduct investigations and prepare designs in support of municipal approvals for the building additions on both the east and west sides of the site.
Our knowledge of the local municipal processes and approving stakeholders at the City of Stratford helped to mitigate any project delays and approvals were achieved efficiently. This also allowed for construction to proceed quickly and smoothly.
Located on a 1.25-ha parcel, the east expansion was completed first and consisted of a 90 ft. by 90 ft. addition to the existing industrial building along with associated parking and drive aisles. Following the east expansion, the development to the west consisted of a 2,000-m2 (21,000-ft2) addition to the industrial facility.
MTE's Involvement
Starting with the site development of the east expansion, our team provided a site plan for both client and municipal approval, followed by site grading and servicing drawings. Our team also completed the architectural design of the east addition which included final building elevations, floor plan, roof plan and building sections and detail. Additionally, we completed the structural design involving the foundation and roof framing plans and steel framing elevations.
When we began work on the west building addition, our team completed a geotechnical investigation to determine the soil and groundwater conditions in the area of the proposed expansion and provide geotechnical engineering recommendations for foundations, floor slabs, site servicing, and pavement design.
Following our geotechnical investigation, our team provided a site plan, site grading and servicing design drawings and a stormwater management report. We also and coordinated the site plan submission for municipal approval. Throughout the site development of both the east and west additions, our team provided site inspections to certify the sites were being constructed in accordance with the provided engineering drawings and to provide final certification to the City.
Our structural design of the west addition involved an architectural floor plan, building sections, building elevations, foundation plans and details, roof framing plan and a code review for fire safety and occupancy.
Back to All Case Studies


text:
Q: xhr uploading progress while using expressjs multer I am trying to use XHR to track uploading progress, but at my onprogress callback at event.total I only getting Content-Length from response header instead of uploading file size:
xhr.onprogress = (event) => {
  console.log('Progress ' + event.loaded + '/' + event.total);
}

I use Multer to handle file uploading and seems it is not avaible to handle file uploading by default:
https://github.com/expressjs/multer/issues/243
So I tried to handle uploading with progress-stream:
  var p = progress({ time: 1 });
  request.pipe(p);

  p.on('progress', function() {
    console.log('Progress...');
  });

But it works same way, I only get onle "Progress..." at log and at XHR onprogress event.total I have only Content-Length value instead of file size value. Help please, I have no idea how to fix it!

A: You don't need get the progress in the backend if you want to show the progress, you only need to know what you've sent from your frontend to backend so you can calculate the upload progress.
In your frontend .js or .html, try something like this:
var formData = new FormData();
var file = document.getElementById('myFile').files[0];
formData.append('myFile', file);
var xhr = new XMLHttpRequest();

// your url upload
xhr.open('post', '/urluploadhere', true);

xhr.upload.onprogress = function(e) {
  if (e.lengthComputable) {
    var percentage = (e.loaded / e.total) * 100;
    console.log(percentage + "%");
  }
};

xhr.onerror = function(e) {
  console.log('Error');
  console.log(e);
};
xhr.onload = function() {
  console.log(this.statusText);
};

xhr.send(formData);

In the backend you only need a simple endpoint like this:
app.post('/urluploadhere', function(req, res) {
  if(req.files.myFile) {
    console.log('hey, Im a file and Im here!!');
  } else {
    console.log('ooppss, may be you are running the IE 6 :(');
  }
  res.end();
});

Multer is also necessary and remember, xhr only works in modern browsers.


Virtual Trade Shows and Webcasts have become the single most important marketing tool to generate leads and drive new business. Following just a few best practices can make the difference between a huge success and a waste of time and resources. Comparing your virtual event performance against a set standard is key to see just how well you are measuring up.
Communique Conferencing just recently published its 2016 Virtual Trade Show & Webcast Benchmark Report highlighting trends relevant to attendance and attendee engagement to help with future virtual event planning for our customers.
Want to learn more? Download the free Communique Virtual Trade Show 2016 Benchmark Research Report.


text:
Q: Using Visual Studio 2008 with Report Builder 3.0 - How to add a custom VB function to calculate a date 90 days before the date in another field This is my first question on Stack though I have had many answered here 8-)
My employer is using SQL Server Business Intelligence Development Studio with Visual Studio 2008 and Report Builder 3.0 to generate reports from SharePoint Lists.
They want me build a Function in VB that I can call from a Report Builder Expression that will look at a date (NeedDate) which is also displayed in the Tablix in the report, and display a date in another cell that is 90 days before that date.  It must be a VB function that is called in the Expression builder - that is the requirement from my boss.
I was using this in the expression builder in Report Builder, and it was working: =iif(ReportItems!NeedDate.Value = Nothing, Nothing, DateAdd(DateInterval.Day,-90, ReportItems!NeedDate.Value)) but my boss wants me to use the function and insert it after the =iif(ReportItems!NeedDate.Value = Nothing, Nothing as "code. what needs to go here..."
I don't have a lot of experience doing this sort of thing.  I don't understand how to make a VB function written in Visual Studio designer work in Report Builder by inserting the "code." and I do not know the syntax for taking the date from one report item, subtracting 90 days from that, and displaying it in another cell in a report.  Thus I am reaching out to you all for advice/assistance, and any provided is most gratefully appreciated!

A: So, the answer was this:
I used this expression in the field:
=Code.SubtractDays(90, ReportItems!ActionNeedDate.Value)
And this was the function:
Function SubtractDays(ByVal days As Integer, ByVal dateField As String) As String
    If Not IsDate(dateField) Then
        Return ""
    Else
        Dim nDayCal As Date = DateAdd(DateInterval.Day, -(days), CDate(dateField))
        Return Format((nDayCal), "dd-MMM-yy")
    End If
End Function