text:
Editorial Services/Workshops
Journalism/CNF/TV/Essays
Full Writing CV
Experimental Poetics Radio Interview (Audio)
Equality in Publishing: Radio panel discussion (Audio)
A few poems…
A few videoed readings…
Carol Ann Duffy and Friends Reading May 2014 (Audio)
That Night (Blackpool Illuminations prize poem)
Ellipses – poetryfilm commission
With You In Mind
With You In Mind – From Pain to Poetry
With You In Mind – anthology
Worcestershire Stanza
Stanza Prompts
Extra Poems/Audio/Film for Website Subscribers
Always Another Twist (novella)
Kaleidoscope (novella)
How to Grow Matches (Against The Grain Press 2018)
Lampshades & Glass Rivers (Loughborough University, 2016)
plenty-fish (Nine Arches, 2015)
The Magnetic Diaries (KFS, 2015)
Hearth (Mother's Milk Books, 2015)
Be[yond] (KFS, 2013)
Into the Yell (Circaidy Gregory Press, 2010)
Photo/Art Publications
Inspirational Photo-Poems
An Eyeful of Words
Interactive Poems
Poem Videos
Collaborative Poem/Comments
Sometimes I smile – photo-poetry quotes
In the Booklight
LitWorld2
Poetry Map
the possibilities of poetry…
Forests of Excitement!!!
It's been a busy but exciting fortnight here – a forest of excitement in fact. But before I move on to woods and seeing trees, my big writing news: How to Grow Matches has been shortlisted for the poetry category in this year's International Rubery Book Awards!!!
The judges' lovely comments are: 'Leavesley's poems have clarity and directness, and she writes with a great eye for significant detail. Matchsticks are "pink tipped bullrushes" in the title poem, for instance, and "Blackpool's shops are metal secrets" in another lovely piece, First Thing. In Fashion Chains, mannequins are glimpsed in shop windows at night with "chemo flesh revealed/in the glare of strip lighting", and the "bald realities" of "moon heads". This poem becomes a sly metaphor for the fashion industry and the way this exploits women via the spurious notion of "true shape". Her themes are varied: there are ekphrastic poems, political poems, feminist poems, myth based poems, but all have flair, characterised by a contemporary experience which is always convincing and original.'
I'm delighted about this on so many scores. Firstly, I'm really pleased for my publishers Against The Grain Press. Secondly, I'm chuffed to see the chapbook pulling its weight alongside such wonderful full poetry collections and the Fairacre Press Diversifly anthology (a great Midlands presence in the poetry category!). Thirdly, on a personal level, my debut poetry collection Into the Yell won third prize in the non-categorised awards in 2011 and my Nine Arches Press collection plenty-fish was shortlisted in 2016. I'd love to see How to Grow Matches go even further, of course, but simply to see it on the shortlist is amazingly inspirational and encouraging! I'm trying not to bite my nails too much now as I wait for the final results…
Meanwhile, this week I had another welcome confidence and morale boost finding out that my poem 'Patient N, diabetes mellitus' was highly commended in this year's Festival of Firsts poetry competition.
My gratitude and thanks go to the judges and all those involved in the admin and organisation making both these competitions happen.
Alongside this, it was also amazing to read Melissa Fu's 'live with a poet for a week' response to How to Grow Matches in Tales From Prickly End (Hedgehog Poetry Press). Melissa talks about it being a response rather than a review, I think it's actually both, as it's a lengthy and detailed article about her interaction with the poems in the pamphlet/chapbook. In fact, it's so wonderfully generous and in-depth that I hope to share more of it in a specialised blogpost as soon as I can…
Although I don't perform or read as often as I'd like because of the extra strain and need for care that it places on managing my diabetes/blood sugar levels, I really enjoy the different spark that this can bring to poetry. So I was delighted to read my Hippocrates Prize poems and others from my pamphlet How to Grow Matches and collection plenty-fish as part of 'An Unconventional History of Maidenhood, Mothering & Mistresses' with poet friends Ruth Stacey and Katy Wareham Morris as part of Wolverhampton Artsfest.
None of this news is directly related to my reading in the Helen Dunmore Tribute at Ledbury Poetry Festival this year. But How to Grow Matches is very much about female voices and experiences, and Helen Dunmore is one of a number of female poets and writers whose work has been inspirational to me over the years. This is one of many reasons why I chose to read her 'Domestic Poem' for the event, which was one of the most moving poetry readings that I've been too in a long while. The audio of it is now online here.
Collaboration is another thing that I absolutely love and don't get to do enough of at the moment. It was absolutely fabulous to see a new review of my collaborative poetry duet Hearth, written with wonderful poet Angela Topping (Mother's Milk Books, 2015) over on Caroline Hardaker's website this week. (Incidently/serendipitously, the themes of womanhood, family life and relationships fit well with all the other collections, poems and readings that I've mentioned so far in this blog.)
"…What follows are songs, sung from the heart. None of the lyrics are over-complicated with flouncy language, as it's never needed. Sometimes the simplest lines can sing the clearest tune…
"This is skilled poetry, crafted with years of expertise. Classical, and timeless."
Caroline Hardaker, full review of Hearth and other Mother's Milk Books poetry pamphlets here
REVIEW of So Long the Sky for Riggwelter on July 4, 2018. (Unfortunately, the Riggwelter wordpress coding/template has lost some of the formatting from my quoted lines of poetry – yet another reason to go and buy the collection itself!)
The Grape-Face (flash) in Spelk on July 13, 2018.
Hedgehog Kind (poetry sequence) in A Restricted View From Under The Hedge in July 2018.
From the Other Side (poem) – a Hedgehog Poetry Press fauxlaroid/poetry postcard in July 2018. (The fauxlaroid postcards are only available as part of the Cult package – one of many reasons for taking out this subscription. This also includes prompts and other poetry initiatives/extras, including the Vapour Trails handwritten booklets circulating across the country/world, leaving an online vapour trail as they go. My fauxlaroid poem is on there now, though not the beautiful photo that inspired it.)
TIMBER!!!
Last weekend saw me heading down to the woods, and memory lane. The Timber Festival at Feanedock near Moira was a delight for many reasons. The trees, the sustainability, and cultural elements and the fact that it was set in The National Forest on the Leicestershire/Derbyshire border very near to where I used to work for the Burton Mail group as a reporter 15 years ago! I was based in the Swadlincote office specifically for a while and this area of Leicestershire, near Measham, was right at the edge of my patch. The picture above gives an idea of how much the area has changed over the years, with former landfill sites in the process of being reclaimed/repurposed back to a more nature-friendly/managed nature areas!
One of the first things that struck me was the Museum of the Moon touring artwork by Luke Jerram. Experiencing this stunning (and inspirational!) piece of art is of course different according to its setting, and also according to the time of day. My photo-poem above was inspired by photographing it as a full moon with the near noon-day (full) sun shining on it. I was also taken by the idea of seeing the sun's shadows on the top of the moon compared to the shadows cast on the forest floor through the moon and the leaves, my own blurred reflection in its surface, and I played with superimposing a clockdial as well as my poem on its surface (as can be seen in my photos below).
So what else did I enjoy: finding poems, audio readings & artwork inspired by/from The Lost Words (Robert Macfarlane and Jackie Morris);
Putting on my festival face. The choice was mermaid or unicorn – no real doubt which I'd go for…created with biogradaeable products;
The foraging walk with @foragersam, traversing on the LL Bean climbing wall timed challenge in climbing boots (I was slow but it was fun, and the heat and not having my climbing shoes made for a great speed excuse), a very tasty mushroom burger & savoury muffins from the farmer's markets, lovely music to dance too, great woodland to walk through, tree-climbing, slack-rope walking (or wobbling) and the evening fire display.
And this was just what I had time and energy for this year. There was a whole range of other workshops and performances to enjoy, and I hope I'll get to go back another year and enjoy even more.
I started my festival write-up with poetry, so I'm going to end with it – even if at a slant.
I mentioned the slack-rope wobbling (as in the video below). One thing I was aware of was how much the hesitation caused by fear and lack of confidence undermined what I was doing. I found balance and tried to hold onto it in stillness rather than being brave enough to step out into motion – thereby losing my muscle, energy, firm position etc before I'd even started.
This isn't a new realisation to me. It's one of the biggest things that holds me back with my climbing and bouldering too. But I know the same fear and lack of confidence also holds me back somewhat in nearly everything that I do – including writing. My conclusions? 1) Fight the fear and make the most of chances where, when and while I can, in full acceptance that experiments don't always work but sometimes they do. (Success isn't guaranteed but simply trying means the chances are higher – if I don't write it/enter a competition/submit, there's nothing to share/no way I can win it/have it accepted.) 2) Preparation is important – I could never have got onto the slackline in the first place if I hadn't started by scoping out the lines and trees to find one where I could use the tree to get to the right height and then support my weight while I got into the right position to balance/attempt to walk. 3) Enjoy it simply for the fun/thrill of the experience itself!
http://www.sarah-james.co.uk/wp-content/uploads/2018/07/Justin-20180706_172809.mp4
I'm also very pleased to have the following poems/articles accepted for/coming up in: about writing voices on Created to Read (17 July, 2018), Heart (poem) on Ink, Sweat & Tears on 17 August 2018, about my writing journey on the The Literary Consultancy blog in September, about the A Tale of Two Cities Worcestershire poetry twinning project in the next Poetry News.
North, south, east, west, home's best – or so it's said. For me, home has actually always been where the heart is, so, by my age, spread across the globe! Joking aside though, I've never really had a geographical location that's felt like my one and only home. I was born in the south, currently live in Worcestershire, with strong affinities for various reasons to both Wales and the North. I'll blog more about this at some point later this year. The main reason for mentioning this now is that my poem '"On the eyelid of the north"' has been selected for a new living, growing, collaborative artwork-in-progress to celebrate 50 years of the Northern Poetry Library. The Poem of the North brings together the work of the fifty selected poets, in five cantos, published over a period of six months. By the end of 2018, the completed poem will stand as a celebratory artefact: a tribute to the region and acknowledgement of the North's rich seam of writers and written culture. I'm not sure yet when my poem's scheduled for, but you can find the poems so far here.
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text:
Q: What is the use of the -f option for `touch`? From man touch:
-f     (ignored)

But I don't get what is meant by ignored.
I've tried following:
$ ls -l file
-rw-rw-r-- 1 pandya pandya 0 Mar 20 16:17 file

$ touch -f file
$ ls -l file
-rw-rw-r-- 1 pandya pandya 0 Mar 20 16:18 file

And noticed that it changes timestamps in spite of  -f.
So, I want to know what -f stands for, or what it does.

A: For GNU utilities, the full documentation is in the info page, where you can read:

-f    Ignored; for compatibility with BSD versions of `touch'.

See historic BSD man pages for touch, where -f was to force the touch.
If you look at the source of those old BSDs, there was no utimes() system call, so touch would open the file in read+write mode, read one byte, seek back and write it again so as to update the last access and last modification time.
Obviously, you needed both read and write permissions (touch would avoid trying to do that if access(W_OK|R_OK) returned false). -f tried to work around that by temporarily changing the permissions temporarily to 0666!
0666 means read and write permission to everybody. It had to be that as otherwise (like with a more restrictive permission such as 0600 that still would have permitted the touch) that could mean during that short window, processes that would otherwise have read or write permission to the file couldn't any more, breaking functionality.
That means however that processes that would not otherwise have access to the file now have a short opportunity to open it, breaking security.
That's not a very sensible thing to do. Modern touch implementations don't do that. Since then, the utime() system call has been introduced, allowing changing modification and access time separately without having to mingle with the content of the files (which means it also works with non-regular files) and only needs write access for that.
GNU touch still doesn't fail if passed the -f option, but just ignores the flag. That way, scripts written for those old versions of BSD don't fail when ported to GNU systems. Not much relevant nowadays.

A: -f does nothing. It's kept for historic compatibility (with BSD touch according to info touch), so that applications that expect it to exist don't pass it and get back an error message saying it doesn't exist. Assuming that this is GNU coreutils, you can see in the source that this just does a break out of the option processing switch without doing anything.
As an ignored option, -f is present from the very first version of the GNU touch command added in 1992 (see diff). It seems that, at least in FreeBSD v9, -f "attempt[s] to force the update, even if the file permissions do not currently permit it" (as found by Sukminder, thanks).

A: Whenever you see "option X is ignored" in --help output or a manpage, that means: the program accepts option X — you do not get a syntax error — but it doesn't have any effect.  The program does the same thing it would have done in the absence of the option.
As the other answers demonstrate, this is done for backward compatibility.  An option used to have some effect, whatever it did is no longer useful, and doing the same thing regardless of the option is the right compatibility behavior.

A: When looking at the comment in the historic source code, line 22:
  22   -f                     (ignored)\n\

the -f option was intended to be ignored since the initial release by Jim Meyering.
And the switch statement to handle options has an explicit case (lines 150/151) to do nothing:
 150         case 'f':
 151           break;

It is remarkable what motivated the following authors since 1992 to keep this option ignored. Maybe there's a usage scenario which requires the option -f and otherwise breaks?

redpajama_set_name: RedPajamaStackExchange


What is Your Return on Relationship?
Ted Rubin, Chief Social Marketing Officer at Collective Bias and the author of the upcoming book, "Return on Relationship", discusses current marketing trends including: what is "return on relationship, mistakes many marketers are making today, how marketers can leverage other resources to greatly expand their effectiveness, and other ways you can more effectively market your business.
Barry Posner, PhD, professor of management at Santa Clara University and co-author of Credibility, The Leadership Challenge (which has sold 2 million copies), and many other award-winning books, says the practices of effective leaders are universal and timeless. Listen to this information-packed interview with one of the "Ten Most Influential Thinkers" in the world, according to HR Magazine.
Joachim De Posada, PhD, author of Don't Eat the Marshmallow, Yet describes the results of an important Stanford University psychology experiment that highlights key personality factors that determine success or failure in life. Listen as De Posada, who immigrated to the USA during the Fidel Castro Cuban revolution, describes the principles you can employee to succeed in business.
Ted Rubin, Chief Social Marketing Officer at Collective Bias and Social Marketing Strategist for MARS Advertising, is one of the most-followed CMO's on Twitter. He says the true value of Twitter & social media is engaging & building relationships & emotional connections with people–a principle he calls "return on relationship". Listen as he reveals how he has built hundreds of thousands of Twitter followers for his brands.
Mark Sanborn, author of Up, Down, or Sideways, The Fred Factor, You Don't Need a Title to be a Leader, and other best-selling books, discusses the success principles that helped him weather difficult times over the last several years, including surviving cancer. He says two of the most important principles are 1) "I may not be the best, but I always give my best," and 2) "Make the most of every moment of every day." Are you giving your best and living every moment? Listen as Mark Sanborn inspires.
Gerhard Gschwandtner, host of the Sales 2.0 Sales and Marketing Conference, says companies are tired of talking about social media, which has been a business-to-consumer marketing channel. He says we're now entering the era of "social business," which he defines as business-to-business marketing that aligns content, conversation, and collaboration around strategic business goals.
Julian Birkinshaw, PhD, author of Reinventing Management, Smarter Choices for Getting Work Done ," says most companies are operating with management principles dating back to the Industrial Revolution. However, in today's era of light-speed communications and global competition, companies' management systems must be optimized for innovation and agility, rather than efficiency. Listen as Professor Birkinshaw describes how to make smarter management choices.
Leadership and Economics Lessons From the US Naval Academy–and Dogs!
Mary Kelly, PhD, author of Mastering Your World, 15 Dog-Inspired Leadership Lessons to Improve Productivity, Profits, and Communication," has been teaching economics and management in the US Navy for 21 years. She also trains dogs and horses. In this interview Mary discusses the similarities between training dogs and humans. She also discusses the economics of a scarcity mindset and reveals one of the most important litmus-test questions you can ask as a manager.
Dov Baron, creator of the C.O.R.E Affluence System and author of "Don't Read This: Unless You Want to Make More Money", says you must take two critical actions to be truly effective and happy. First, you must find your inner "core" self. Second, you must let go of your fears. Listen-in as Dov describes these and other principles he coaches to his highly affluent clients. Dov is an amazingly inspirational and motivational coach!


Compare with the Shortest Route between Dahod and Rentia.
This is the Shortest Route between BRC and RET.
Compare with the Shortest Route between Anand Jn and Rentia.
Compare with the Shortest Route between Kota Jn and Rentia.


And welcome to T.T.W. Training That Works.
T.T.W. provides fitness and self-protection survival training in the form of martial arts to the executive clientele and law enforcement community. The motto of T.T.W. is Get Focused, Get active.™ Simple but powerful, just like the way we train. Take the time to look through my web-site and see just what we can offer you, if your serious about self-growth, if you are serious about pushing through personal barriers, then T.T.W. is the place for you.


text:
Q: Fixing nav bar made with Flexbox to top of page, but when you scroll up nav bar becomes covered So I created a navigation bar with flex box.  I currently have a wrapper around the  so that I can make it fixed to the top.  This functions correctly and when you load the page the nav bar looks fine.  But when you scroll up past what would be the boundaries of the page the navbar becomes covered.  How would I avoid this (I have attached images below to show what I mean).
Before scroll
After scroll

        About
        Portfolio
        Contact

nav {
  background-color: rgba(0,0,0,.5); /*background color*/
  height: 75px; /*height of navigation bar*/
  display: flex; /*activates flexbox properties*/
  align-items: center; /*uses flexbox to vertically center items*/
  -webkit-backdrop-filter: blur(8px); /*blurs background*/
  backdrop-filter: blur(8px); /*blurs background*/
  padding-left: 20px;
  padding-right: 20px;
  justify-content: space-between;
}

.wrapper {
  position: fixed;
  width: 100%;
}

A: Seems to be no issue after resetting default margin and padding:
body {
  margin: 0;
  padding: 0;
}


text:
'I get to color with all the crayons in the coloring box playing this role': John Partridge on his role of Emcee in 'Cabaret'
Ahead of the Dublin run of Cabaret at the Bord Gáis, Emcee John Partridge talks theatre and politics, as told to Katie Donohoe.
Entertainment 24 September, 2019 . Written by Katie Donohoe.
The premise of the show focuses around a young writer, whose name is Cliff Bradshaw who comes to Berlin, to find something to write about having previously been in both London and Paris. On arrival in Berlin, he meets a nightclub entertainer, called Sally Bowles, who works in the Kit Kat Club, of where I am the Emcee. The Emcee really is a metaphor for the wider political landscape of Weimar, Germany in the late 20s, early 30s. You only ever see the character of the Emcee in the Kit Kat Klub and so really, I am a figment of your imagination, am I real, am I not. It is my job to hold a mirror up to the audience to reflect what has happened on stage and also a view of what they have just seen; Cabaret deals with incredibly powerful themes.
As we see our own political landscape fractured right now, with the rise of Trump, Farage, Marine Le Pen, Brexit, antisemitism within the Labour Party, it is an incredibly exciting time to take Cabaret around the UK and internationally to see how audiences react to the themes in this show. It is amazing to me that a show that was written 60 years ago, seems to be as provocative and as prolific now, as it was then, if not more so.
Emcee is a showman, he's an orator. I am there to inform, educate, and in some ways ridicule the audience for their responses to what it is they are seeing, and to really ask them to think about the choices that they make as humans. I get to color with all the crayons, in the coloring box, playing this role, I get to be vulnerable, I get to be brutal, I get to be outrageous, I get to be kind; all the things I wish to be in my normal life in some ways you can't be a lot of the time, but it's a gift of a role.
I get to be vulnerable, I get to be brutal, I get to be outrageous, I get to be kind
I am honoured that I have the opportunity to play in a show like this when you take on an iconic role like this, people always ask you know "are you not worried about taking on something like this" but in my view, I am merely a caretaker. So it is my job to sort of preserve it and to honour it and to keep it safe until I hand it over to the next person to look after it because that's the responsibility you have in recreating a classic like this.
I think Bruce Norris, did the most amazing job in pushing Cabaret forward and pushing these themes forward and keeping the conversation going about something that happened a long time ago, that we should never forget. I think we all need to respond to what is happening politically. I think everybody does. I don't think art should be left out of that. Of course, art is also there as escapism and fantasy, and relief, but it is also there to inform and educate and to question. I think that's what we all should be doing and we all should expect.
I don't think we can be passive in anything anymore unless we choose to be. So yes, my answer to that would be yes, we live in incredibly fractious times, and we seem to have this ability to ignore, to allow things to wash over us to complain within social media platforms, but yet to walk out of our front door and allow things to happen that outrage us, but we are somehow actively passive.
It's something that I don't understand. I cannot understand. We seem to want to secularise and ringfence ourselves off from each other. I am British, my mother Irish, my father is Scottish, my husband is Canadian and Greek. I lived in Berlin for ten years; I've worked in Zurich extensively.
I cannot understand the notion that we should close our borders and protect "our own", I find it depressing at best and frightening at worst. All I can do is to try to find projects now that speak to me both personally and politically because that's the only voice that I have. I feel that Cabaret is a show that does that.
There's a lot of makeup involved in this show sometimes when you have one of these heavy makeup shows it does allow you the time to sit with yourself and be transformative. That's what putting on somebody else's cloak allows you to do. The time it takes to become that person is my alone time with that character. So I say goodbye to myself within that time and embrace somebody else.
I'm very lucky with this company that everybody is very driven to tell this story. Everybody collectively works together in order to create this world, because in a show like this, it is a collaboration and it requires everybody to pull in the same direction. You know, no matter how much I prepare, if you're the only one it doesn't have the same effect and it certainly doesn't keep you where you need to be.
We are gifted with having a very connected company to tell this story and it makes me incredibly proud. I must stress we have probably the most good looking, fit, agile, charismatic group of young people and semi-nude because that's always good for selling a few tickets. A little bit of nudity I find in a production goes a very long way.
It is a very much a team effort in this show. And I wish to nod my cap to every single one of my colleagues who goes above and beyond to to tell the story, I've been doing this a long time, and it's not always the case, I'm going to let you know.
I am by birth and DNA rather animated, so I find theatre very natural.
Theatre and film are very, very different mediums. I have lived on stage, most of my life. I started working professionally in the West End at 16 in Andrew Lloyd Webber's Cats, and I'm 48 now, so I've been doing this for 32 years, (God how did that happen!) but I have, and in some ways, it's where I am most comfortable. It's where I am most at home because it's something I've grown up with. So I find being on stage a very naturalistic way of performing.
I am by birth and DNA rather animated, so I find theatre very natural. With television, I feel like I've got a botox my entire body and like, pull it all down and make it very, very small and that is not a natural way for me to perform.
I like the instant gratification in theater, you walk out to the stage and you know pretty much 10-20 minutes in whether that audience is for you or against you, and you know exactly what you have to do in order to get them on the side or some cases not.
To get the result that you want and also if that result isn't what you want, it's gone and you know, the next day, you get to do it again, and you get to put it right.
With TV and film, you do something they don't see it for 3, 6, 12 months after that, and by the time that comes around, you've already moved on to something else. It's very, very, very different ways of working, but nonetheless, I enjoy them both equally, I guess for different reasons.
What's my favourite musical? That's an unanswerable question. They are all my babies and I love them all equally, never have a favorite child.
I could attach joy and sorrow to each of these occasions all individually.
If you're lucky, things come around in your career at the right time to enrich your life, to reward your life or to help you through something. Like I say I've been doing this a long time and through my career I've had professional and personal highs and lows. I could attach joy and sorrow to each of these occasions all individually.
I very much now try to live in the moment and appreciate the now and so you know, I'm enjoying this role immensely. It's a role that I've always wanted to play; I don't have many bucket list roles. I didn't in my earlier career because that was not how I lived. I'm older now, and there were things I want to get in before it's gone if you know what I mean.
So I'm very grateful to be playing this role here and now and I'm very grateful to where I am in my personal life now so when this part came along I actively petitioned Bill for the role.
I've worked with Bill Kenwright for a while now so I was like "okay, fella, I've worked with you a couple of times now I know Cabaret is going back on the road. Will Young has been hogging it for the last couple of years. I think you should give me a shot." And I'm delighted to say that he agreed.
If you are not a fan of musicals, and many people aren't, you know, God who are they, I don't know.
But there are a lot of people who go "I can't bear this, I can't bear going to see a musical". This production, it would be for you because although, you know, it has the amazing Kander and Ebb score with all these songs: 'Maybe this Time', 'Life is a Cabaret', 'Money', 'I Don't Care Much'.
The book on its own and the play is so strong, without all the music. This show isn't a happy musical in the sense that you know, 'everything's all right in the end'. We don't go into 'happily ever after' in this show. It is very real in that way. It's a very realistic musical. So I would urge you if you are not a fan of musicals to suspend that notion, for two and a half hours and come and see us because I think you may be surprised and I guarantee you, you would have a good time. You would at least leave the theatre having something to think about.
John Partridge plays the Emcee in Cabaret at the Bord Gáis Energy Theatre from 01 – 05 OCTOBER 2019. Tickets on sale through Ticketmaster now!
#cabaret
#Emcee
#john Patridge
#what's on
24 September, 2019 . Written by Katie Donohoe.
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redpajama_set_name: RedPajamaCommonCrawl


We ain't in Kansas no more.
Still have a few minor technical issues with the site migration (such as social login), but we should be up and running again at 100% in no time!
Already hopping on the Rhen-wagon. I'm curious, should we expect any reorganization of the new site once the keenspot page is shut down?
That ad in the middle of the blog section keeps driving me nuts.
Yes, actually. The site will *eventually* be redesigned completely.
He did tell her to hang on . . .
I see you have a store. Do you have a donate option? I'd love to help support the comic, but I don't need more clutter. I looked for a donate button, but I couldn't find one.
Aww, thanks for the sentiment!
The robits remind me of Giant Tentacruels.


text:
Tag der offenen Tür steht für:

 Tag der offenen Tür, einen Tag, an dem Institutionen für Besucher geöffnet sind
 Tag der offenen Tür der Bundesregierung, Tag der offenen Tür von Institutionen der Bundesregierung
 Tag der offenen Tür (Film), ein deutsches Fernsehspiel von 1967

redpajama_set_name: RedPajamaWikipedia


text:
Q: How can I make clusters of time frame? I have a Pandas Dataframe of Time.
0    2020-08-01 23:59:59
1    2020-08-01 23:59:49
2    2020-08-01 20:52:17
3    2020-08-01 19:02:34
4    2020-08-01 18:38:06

I want to add a column where I want to index by making a cluster. For eg. as follows:
0    2020-08-01 23:59:59   1
1    2020-08-01 23:59:49   1
2    2020-08-01 20:52:17   2
3    2020-08-01 19:02:34   3
4    2020-08-01 18:38:06   3

I have written this for this example as we can see 3 clusters can be made, which are the nearest/closest time stamps.
from sklearn.cluster import KMeans
mat = df['datetime'].values
kmeans = KMeans(n_clusters=3)
kmeans.fit(mat.iloc[:,1:])
y_kmeans = kmeans.predict(mat.iloc[:,1:])

df['cluster'] = y_kmeans

However, the above code also didn't work. Well, I have millions of data and obviously don't know how many clusters should I need to make. I read Elbow Method can be used but not exactly sure how it can be done. Can someone direct how it can be done?

A: kmeans assumes that you know the number of clusters.
If you want a method that determines the number of clusters algorithmically, you can e.g. use DBSCAN which forms a cluster whenever a group of data points is "close" to each other (closeness determined by the eps parameter). If you have a large number of samples and this is very costly, you can also try to explore any clusters in the data using a smaller (representative) subset of the data.


text:
package org.opencb.cellbase.core.common.pathway;

import java.util.ArrayList;
import java.util.List;

public class SubPathway {

    private String name;
    private List<String> displayName;
    private List<SubPathway> subPathways;

    public SubPathway(String name, List<String> displayName) {
        this.name = name;
        this.displayName = displayName;
        this.subPathways = new ArrayList<>();
    }

    public void addSubpathways(SubPathway sp) {
        this.subPathways.add(sp);
    }
}

redpajama_set_name: RedPajamaGithub


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Turkey denies history—all the more reason for the rest of the world to tell the truth about the Armenian genocide. – By Christopher Hitchens – Slate Magazine.
Spot on, imagine if Germany denied the Holocaust and the rest of the world tolerated it – thanks for posting this.


text:
This Month on WestView News
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› Articles › Our Apologies Ms. Vetra
Our Apologies Ms. Vetra
Web Admin 10/03/2020 Articles
By Stanley Wlodyka Jiménez
Celebrating 50 years this year, Westbeth Artists Housing can boast tenants like Vija Vetra, who carries the weight of an entire people on her shoulders. Photo Courtesy of the Archive of Vija Vetra.
Vija Vetra, choreographer, dancer, Westbeth Icon, proudly striding—with an impossibly straight back mind you—towards 98 years of age February next year, an Aquarian soul just like many of the best American presidents, wants you to know that there was an error in last month's article about her.
"It comes from the Middle Ages, when a criminal, or somebody who did something wrong, was put in the middle of the marketplace and next to him or her was a pot of ashes and everybody could put their hand into the pot and put it on him. You blacken the person. I feel like you blackened me by saying what you said."
In giving a summation of Vija's prodigious life, which spans 11 decades and 5 continents (not to mention a variety of dance styles), it was mistakenly reported that she only returned once to her native Latvia in the half century it was under Soviet control. While that much is true, it is not so accurate to say she danced for communist officials during that homecoming. And one could see why she would take umbridge at this error: just imagine what was incinerated in order to produce the ashes that she feels blacken her.
In fact, she made that return trip to Latvia in 1979 in order to give a command performance to an audience filled with artists. While it's true that after the performance her friends and family in Latvia would begin to be tracked, tapped and followed, it would be too much to infer that someone in attendance was an informant. No one really knew how the Kremlin knew everything.
Artists were considered a particular threat to the communist system, as were the intelligentsia, landowners, military officials: basically anyone who might sow discord and dissidence. The Soviets developed a fool-proof method for dealing with such people: make them disappear. The Russians first occupied Latvia in 1940, and it was only a year later that they deported over 15 thousand Latvians in cattle cars to forced labor camps known as GULAGS in remote sections of nearly uninhabitable Siberia.
They felt they had the right to do such a thing because of the explosive Molotov-Ribbentrop Pact of August 24, 1939. On the surface, this was to be a simple non-aggression treaty between Nazi Germany and Soviet Russia. Unbeknownst to onlookers from throughout the world, there was a secret portion to the pact in which these two dictatorships divvied up Europe between themselves. The west caught a breeze of this easterly wind during the Nuremberg Trials after World War II, however, Stalin obliged that the draft be ignored and the true, all-important implications of this pact was not revealed until the Iron Curtain finally fell in the 90's.
The Nazi occupation between 1941 and 1944 provided a short respite from the fatal deportations, replacing them with other horrors. By 1944, the Soviets were back, and by the end of the War, Roosevelt and Churchill effectively legitimized their presence in the Baltic states at the Yalta Conference. And so, the deportations resumed uninterrupted, with another 136 thousand Latvians deported between 1944 and 1952. Eyewitness accounts speak of so many bodies littering the side of the tracks into Siberia, that the wolves and the bears soon had eaten more than their fill and would take to only chewing on the cartilage of noses and ears.
By 1952, the objective had been accomplished. The loudest voices in opposition in Latvia had been silenced, in unimaginably terrible ways. Vija remembers hearing about the neighborhood boy scout leader who was found with his head bashed in. By then it was a familiar tale: "You may have heard, when the Russians came into Poland that they killed Polish officers in Katyna? Exactly the same happened in Latvia. Hundreds of officers of the Latvian army were rounded up, told they were going on some excursion. Military. They were taken to a forest, where a dug out grave waited, and then they were shot, and they were falling into the grave and they covered them up. "
Katyna, of course, refers to Katyn Forest, the site of an infamous massacre of over 20 thousand Polish military officers by the Soviet Army in Spring of 1940. Strangely, on the 70th anniversary of the Katyn Massacre, in April 2010 an airplane carrying the Polish president, the first lady and dozens more top Polish government and military officials crashed and killed everyone on board as they were flying to meet Russian President Vladimir Putin to commemorate the tragedy. According to some accounts, the Polish president's twin brother, who also happened to be the Prime Minister at the time, and who now is the president of a rather more nationalistic Poland, receded because of the tragedy into a deep and troubling seclusion, harboring secrets, going so far as to lie to his elderly mother for many years afterwards: "He's on a trip."
Vija might say this is one of life's many circles ("There are no accidents"): fate's funny way of making her children reckon with the past. She is more prone to believe that it was a conspiracy, however; a conspired event perpetrated by the same old Soviets going by a different moniker:
"They just exchanged the flag from red to now red, white and blue. They have not changed at all. And Putin is from the old method. He is a KGB man. He never changed, he never will. Look! He's a dictator, like Stalin. He is a dictator. He has made the law such that he will be the president of Russia for another 30 years. That's what he did right now. He changed the law."
Vija bears no false illusions, however. Just because Putin is a bad guy doesn't mean there needs to be a good guy. Things are never so simple as appearances suggest. Even reminiscences of her grandfather, who painted, is tainted. He was from Dresden.
"The Americans bombed Dresden completely. And there were thousands and thousands and thousands dead. It wasn't a military goal. There was nothing military in the least. Just to raise terror. That's all."
While on the topic of American guilt, the conversation inevitably dives to the bombing of Hiroshima and Nagasaki. The official narrative is that such drastic steps were necessary to end the war, even if it meant the deaths of perhaps more than 70 thousand Japanese children under the age of 14.
"They will always say that they needed to do it. Because they did it. So, therefore, they needed to do it," Vija spits.
Poetically, Vija's last few rays of naivete are held in one of her earliest childhood memories as a girl in Latvia, before the war and so, too, before a lifetime of challenges as a refugee commenced.
"When I was a little child in Latvia, I would spend always the summers with relatives on the farm from the country. I always knew when the full moon is going to come up and where. I secretly went there and danced for the moon. Because, that was like a face you see. He still is my best friend and oldest friend. I always felt that he was the best audience for my dance because he understood me. I still feel that way."
2020 Village Halloween Parade Offers Surprises
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Warhol and Wallowitch —a Gay Affair
Using Speech Recognition to Control Your Desktop and Programs
How Do I Love Thee? Let Me Count the Compliments
Our Way Out of This: I Think Not
From Ancient Sparta to Modern Denmark: The Rationalization of Eugenics
James E. Murphy, Consultant
It's Just Politics
VID Endorses City Council Candidates
Being Black Isn't a Crime
HOW SWEDE IT IS
Oxidative Phosphorylation: Life's Energy Source
Participate as We Cover Local Elections
Polly Trottenberg – Good Riddance
Palestinians Persecuted During the Pandemic
Book Review: Children's Piano Primer 1 2 3 Do Re Mi
Urban Native Artists Show at the Revelation Gallery
New York Time Capsule
I'm From Joe's Hometown
Who's the Dolly Parton Patron Saint of Curing AIDS?
Wenceslaus
Holly Claus Awakens Our Dreams
DAVID NORMAN DINKINS, 7/10/1927-11/23/2020
Who You Are in Times of Uncertainty
The Evolution of Winter Holidays: From Saturnalia to the Christmas Season
Could a Win at Beth Israel Be Near?
New York Apartment Prices Poised to Drop 20%
Vija Saved From the Government
Our Neighbors At NYCHA – New Crisis With Paint
Permanent Outdoor Dining? Government By Fiat—Without Caution
Joan's Shanghai
SUPER HERO VIII: What the Cats Drag In
Reimagining Solutions
Mayor de Blasio: Billionaire's Hand Puppet
Getting Specific About Your Anxiety
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Promotion !!! When buying DARK SOULS ™: Prepare To Die ™ Edition - Random Steam Key with a game as a gift !!!
1. Leave a positive review, in which write "I want the Steam key as a gift!" and get a random Steam Key for free!
2. Gifts are issued within 12 hours after the purchase and writing reviews.
3. After requesting gifts, be patient and go about your business, you will receive an e-mail notification.
Dark Souls ™: Prepare to Die ™ Edition includes the untold chapter of the world Lordartran, in which the player will go into the past, at a time when the knight Artorias was still alive.
New bosses - including the Black Dragon, the Guardian of the Sanctuary and Artorias from the Abyss.
PVP-arena and the system of organizing PVP-matches - quick matches 1 for 1, 2 for 2 and battles for 4 players.
New zones - including Olachil, Olachil Sanctum, Royal Woods and the Stoic Battle to sharpen PVP skills.
New enemies - including the Forest Scarecrow, the Prisoner, the Stone Knight.
New non-player characters - including Hawkeye Goch and Elizabeth (the keeper of the Sanctuary).
New equipment - weapons and armor can be found in the new bosses, enemies and non-player characters.
Dark atmosphere and difficult trials - learn how to quickly invent a plan of action to avoid punishment, but get rewarded.
Completely seamless world - Explore the dark, fantastic universe, where dungeons and open spaces are closely intertwined.
60 hours of gameplay, about 100 terrifying monsters and a subtle role-playing system, which includes weapons, armor, miracles, fate, and more. Success depends on the ability to use the right spell at the right time, on the choice of armor, the number of weapons and their types, as well as the movements that they can perform.
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5. The game should appear in the list of games of your Steam library and can be downloaded.
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If you have any problems or questions, just contact me using the form "Ask a Question".
After payment you automatically get a link for steam gift activation.
If you have any problems with gift activation, write to me!
Get a gift - write "I want to key in a Steam gift!"
EVERY positive comments get key Steam!


Clothing woman performing bike are essential to benefit from the best conditions of comfort, without neglecting the practical aspects and the protection from the elements.
That you were driving on a regular or occasional, you will quickly realize that an outfit suitable for the practice of the bike is essential to feel comfortable and to avoid some unpleasantness (clothes torn, irritation, excessive sweating)… It is therefore important to invest a minimum in an outfit tailored to your practice. Therefore, how to choose his bike Womens textile?
The main features of a woman bicycle clothing will be comfort, waterproofness, insulation, breathability, lightweight. All immediately warn you: it is impossible to gather all these qualities!
-The 1st layer (closest to the body) must be breathable, for a good evacuation of sweating. The cycling jerseys (even retro bike clothing) are ideals through their technical fibers.Avoid at all costs the cotton t-shirt: once wet, it will remain and you will get cold.
-The 2nd layer will be shorter or hot according to the temperatures (short or long sleeve shirt, light jacket).
Brands use very specific textile technologies: Coolmax, Windstopper, Gore Tech… each has its own characteristics and are specially designed for the practice of sport, so enjoy!
We are no longer at the time of the k-way oven.For example, the Spherewind of X-Bionic jacket has the 3D-Bionic Sphere system, which promises a quick evacuation of sweating while keeping warm. The principle is simple: sweat is drained, in part, the remaining part is cooled by the incoming air > you less warm.
When the body of Don't sweat, the warm air is trapped inside.
Remains to solve the following problem: sweat do not necessarily mean "get hot". And Yes, even by-15 ° C, it is possible to sweat on a bike!
Thus, we recommend, rather than investing in large parts textile, focus on small parts, easy to store in the pockets. They will also allow you to overlay the layers and so play on adding / removing items being output (headlines, cutting wind, Kneepads, shoes…).Indeed, it is common to have cold initially, and too warm then if you have too cover (especially in mountain BIKING).


Stanford Social Innovation Review, co-written with Michael Feigelson, Accelerating the New Macho: What social change leaders can learn from behavioral science and the experience of the 21st century tough guys.
Women vote more, volunteer more and there is every indication that they will be giving more than men since they control over half of the total wealth in America. Women aren't a niche -- they're the primary change-makers. The She Spot offers a practical -- and provocative -- primer on how nonprofit and advocacy organizations can strengthen their outreach to this highly motivated and engaged segment of the population. Witter and Chen reject the narrow "pink" approach to gender marketing, showing readers how to leverage the fact that nearly all issues are women's issues. Drawing on their expertise as consultants in public interest communications, they explain the sometimes counter-intuitive nuances required when engaging in gendered marketing and include real-life case studies of corporate and public sector marketing campaigns that successfully broadened their appeal so that they connected strongly with women as well as men.
From Publishers Weekly: Marketers have always honed in on women, the primary household consumers, but charitable and political organizations have long been less savvy. Target women to garner donations or votes, urge Witter and Chen; female consumers and citizens are not a niche audience but the audience to reach and win over. Women's economic clout grows larger every year, and though they tend to be distrustful of the political process, they vote in large numbers and can tip elections. They are also characteristically altruistic, volunteering more significantly than men and contributing to twice as many charities. Since word of mouth is strong among women, women who care about a particular cause will bring in more contributors. The authors present their material efficiently and engagingly, tackling the motivation—both social and neurological—behind women's contributions and interest, and the methods to appeal to them, from news media to online. Bolstered with helpful chapter takeaway lists and concrete examples of companies that have successfully reached the female audience, Witter and Chen have crafted a thoughtful, helpful guide to nonprofit marketers.


92008844 has 12 divisors (see below), whose sum is σ = 161826000. Its totient is φ = 45772848.
The previous prime is 92008843. The next prime is 92008877. The reversal of 92008844 is 44880029.
It is not an unprimeable number, because it can be changed into a prime (92008843) by changing a digit.
It is a polite number, since it can be written in 3 ways as a sum of consecutive naturals, for example, 56999 + ... + 58590.
It is an arithmetic number, because the mean of its divisors is an integer number (13485500).
Almost surely, 292008844 is an apocalyptic number.
92008844 is a deficient number, since it is larger than the sum of its proper divisors (69817156).
92008844 is a wasteful number, since it uses less digits than its factorization.
92008844 is an evil number, because the sum of its binary digits is even.
The sum of its prime factors is 115792 (or 115790 counting only the distinct ones).
The product of its (nonzero) digits is 18432, while the sum is 35.
The square root of 92008844 is about 9592.1240609158. The cubic root of 92008844 is about 451.4502086553.
The spelling of 92008844 in words is "ninety-two million, eight thousand, eight hundred forty-four".


text:
XHZS-FM may refer to:

XHZS-FM (Sinaloa) 100.3 in Mazatlán
XHZS-FM (Veracruz) 92.3 in Coatzacoalcos (formerly also on 1170 AM)


text:
Q: Nested forms in Angular 2 JS (RC4 and newer) I want to build a dynamic form component that can take in an object and generates a new form. I'm using Angular RC6
Example of the data:
[{
    formgrouplabel: "registration",
    data: [{
        type: "checkbox",
        label: "checkbox 1",
        name: "checkbox1",
        default: false,
        required: false
    }, {
        type: "radio",
        label: "mr",
        name: "sex",
        default: true,
        required: true
    }, {
        type: "radio",
        label: "miss",
        name: "sex",
        default: false,
        required: true
    }]
}, {
    formgrouplabel: "some other part of the form",
    data: [another array with input objects]
}]

The actual object will include much more information like validators and other requirements. I would also like to bundle inputs into groups.
I built the corresponding angular components:
<dynamic-form></dynamic-form>
<dynamic-form-group></dynamic-form-group>
<dynamic-checkbox></dynamic-checkbox>
<dynamic-radiobutton></dynamic-radiobutton>

In my template of dynamic-form-group I *ngFor over all formgroups in the data object. ngSwitchCase's are then used to pass a checkbox object to the dynamic-checkbox component and pass a radiobutton object to the the dynamic radio-button componenent.
All of this is working just fine now, the whole form is generated, However:
When I now use ngModel inside the dynamic-checkbox componenet for example to tie a FormControl to an input element, ngModel is not able to communicate with ngForm on the dynamic-form component (two levels up).
Also FormGroup inside the dynamic-form-group component is not able to communicate with ngForm. In short, nothing is allowed to communicate from child to parant.
I'm reading ng-book 2 and all the examples on the angular docs, yet I can't find a clean solution for this. I know that if you want a child element to communicate with it's parent you either create a service or export a certain value/object or function through @Export and event emitters. This however doesn't lead to a clean solution.
The problem as I understand it now is when you use FormBuilder or FormGroup and FormControl you have to instantiate the controls first:
    this.form = new FormGroup({checkboxControl: new FormControl("some value")});
or (as written in ng book 2)
myForm: FormGroup;
constructor(fb: FormBuilder) { this.myForm = fb.group({
      'sku': ['ABC123']
    });
}

Both of these are not really an option for me. Because of the object model my form will be created first, next my formgroups and last my formcontrols. In order to use the above methods it should be the other way around.
Is there a way to create a form group first and add controlls later?
I tried this already:
this.form = new FormGroup({});
this.form.controls['newControl'] = new FormControl({"some value"});

This does add a new formControl to my existing FormGroup, however when the value on that input changes, the formControl doesn't update. It's like I only made a reference to "new FormControl({"some value"});" and the value always stays at "some value".
Lastly I also tried this approach:
https://angular.io/docs/ts/latest/cookbook/dynamic-form.html
Here too they first build the formcontrols and then pass them as an object to create a formgroup.
Of course I can just put all template and control logic into the dynamic-form component and leave out the dynamic-form-group, dynamic-checkbox and other components, but is there any way I can make this work as I intended ?
I hope someone has already built something complex with the new forms api.

A: Take a look at the addControl() feature on FormGroup. There are quite a few handy built-in methods on the FormGroup, FormArray, FormControl etc. for a variety of scenarios.
Example of use
/*
    basic-form-question.component.ts -> From Angular Dynamic Form Documentation
*/
@Component({
   selector: 'df-question',
   templateUrl: './basic-form-question.component.html'
})
export class DynamicFormQuestionComponent implements OnInit {
    @Input() question: QuestionBase<any>;
    @Input() form: FormGroup;

    ngOnInit() {
        if(!this.form.controls.hasOwnProperty(this.question.key)){
            let control = new FormControl(this.question.value || '', Validators.required);

            this.form.addControl(this.question.key, control);
        }
    }
}

Hope this helps.


Traditionally, one of the key disadvantages associated with CD-ROMs has been the speed with which content can go out of date. Using ''hybrid'' technology, it is now possible to design & develop CD-ROMs using the Internet for the storage of some types of information. If the client has an administration system for the information stored on the Internet that is ''connected'' to the CD-ROM, then they have a content management system for the content of all their CD-ROMs.
There are some businesses that lend themselves very well to this type of approach. For example, E-creation recently looked at producing a digital brochure for a holiday company. Their objective was to reduce costs by delivering their brochure in digital format but E-creation also looked at how the digital medium could deliver additional benefits over the printed media.
It became very rapidly obvious that if we could enable the digital brochure to reflect changing prices for the various holidays, we would be onto a winner. Further to this, the ability to show the changing prices needed to be within the control of the client – one who was not particularly technology focused.
Looking into how holiday sales representatives traditionally highlight special offers in brochures, E-creation developed digital post-it notes that could be ''stuck'' onto the digital page. The holiday company could text in the details of the offer and this would be ''written'' onto the digital postit note. Of course, it had to be simple and easy for the client to ''stick'' the digital postit notes to the page. E-creation designed a drag and drop tool, where the client could drag a digital postit note directly onto the brochure page from a menu at the bottom of the screen in their content management system. A dialogue box immediately opens and the client is able to enter the text to be written on the post-it note.
Once they have attached all their special offers to the relevant pages of the digital brochure, pressing the ''publish'' button would publish the postit note details to a secure area of their website. People browsing the digital brochure CD-ROM can press the ''view latest offers'' button, whereupon the CD-ROM would connect over the Internet, load the postit note information (since the information is textual rather than graphical this takes a few seconds rather than minutes) and display the postit notes on the right place on the relevant pages with the special offer details written on them.
This changed the way that the client viewed digital media and in particular, CD-ROM technology. Previously, the website, travel agents and teletext had been the only way to broadcast time dependent pricing strategies. Now, CD-ROMs represent a cost-effective communication channel that offer all the benefits of the Internet and more.


Description: Paper Accents Chipboard, use for card making and rubber stamp projects, to make your own albums and frames, or cut out unique shapes for scrapbooking and other projects. This chipboard is lignin-free, buffered, acid-free and archival quality. 100% Recycled paper. Extra Heavy, 52 point. 8 1/2 x 11 inch. Natural.
Paper Accents Chipboard Extra Heavy 8.5"x 11" Nat (25 sheets) 5.00 out of 5 based on 7 ratings. 7 user reviews.
Great for mini album covers!


Thanks to the assistance of a Global Research Partnership Award (GRPA) from International Programs, a team of University of Iowa obstetrics and gynecology physicians will travel to Bahir Dar, Ethiopia, early next year, with plans of establishing a partnership program to promote global women's health.
Given the increasing importance of globalization in higher education research, the GRPA was created to help initiate new or expand existing international partnerships.
"The Global Research Partnership Award provides seed funding to help UI departments and their faculty develop international connections that add value to and help advance research and discovery at the UI," said Downing A. Thomas, associate provost and dean of International Programs at the University of Iowa.
"We are very excited to have the support of the Global Research Partnership Award to help us provide training through our new partnership in Ethiopia," said Dr. Mary Rysavy. "The funding from this grant will allow us to make the first concrete steps toward goals for shared research, education, and clinical care opportunities with our colleagues at Bahir Dar University."
Group members will include UI physicians Dr. Abbey Merryman, Dr. Mary Rysavy, Dr. Ginny Ryan, and Dr. Tom Gellhaus.
"As Ob/Gyns, we believe strongly that all women should have access to high-quality health care, both here in Iowa and around the globe."
In addition to the creation of an Iowan-Ethiopian academic partnership, Dr. Rysavy and her team also plan to establish trainee development programs to address their larger goal of improving the health of underserved women worldwide through sustainable education, research, and clinical service with local and international collaborators.
"We're hoping to work 'bega kwa bega,' as a favorite Swahili says goes, or 'shoulder to shoulder,' with our new Ethiopian colleagues to improve women's health in this area." said Dr. Tom Gellhaus.
"As Ob/Gyns, we believe strongly that all women should have access to high-quality health care, both here in Iowa and around the globe," said Dr. Mary Rysavy. "We have all provided service and clinical care in low-resource settings internationally in various capacities, and we see one way that we can make a substantial impact is to provide training for local health providers in settings where they can then provide daily clinical and surgical services to improve women's lives."


Basement drains can prove to be a vital part of your home's drainage system, particularly if your home is in a low-lying area with frequent rains or melting snows. The drain can help prevent water damage within your home or extensive and messy cleanups. But problems with the basement drain can counteract all of those benefits and leave you with no or poor drainage and the growing threat of water damage.
Rusting drains, clogged drains, and flooding that overwhelms the drain are three common problems homeowners face. What are the potential solutions?
Does your drain cover have a few spots of rust? Don't sweat it; a little bit of rust isn't going to do much damage. Is the cover so rusty you can't see the original color peeking through? You need to call in a professional plumbing service, and not just to replace the cover of the drain.
Significant rust on the drain can be a sign of overly hard or mineralized water in your area that could also be having a similar effect on the piping underneath the drain cover. Rust in your pipes can lead to corrosion and the narrowing of the pipe or pipe breakage. These piping issues can cause further drainage issues for your basement and lower the water pressure elsewhere in the house.
A plumber can send a small, specialized camera down the pipes to check for problems. If the problem turns out to be only a rusty cover, you can head to the hardware store and replace that on your own.
Basement drains can clog due to debris buildups or mineralization in the pipes. The clog will slow down the draining water and can reach the point of backing the water up and causing flooding. You can attempt to fix this problem yourself if you own an auger, or you can call in a plumber or drain cleaning service to deal with the situation.
An auger has a tension wire and a turn handle. You turn the handle to lower the tension wire down into the drain until you hit an obstruction and then quickly retract the wire while pulling up. The wire should pull up or at least break up the obstruction that was hit.
Note that you don't want to use a chemical drain cleaner in your basement. The chemicals can be harsh on pipes and end up causing more harm than good.
Basement drains can flood due to clogs or can flood due to the amount of water exceeding how much the drain can take in at one time. You can help avoid this flooding and associated water damage by paying to install a sump pump.
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text:
Long Island City comedy bar hopes to relocate an alt-right provocateur's podcast appearance
By Max Parrott
Photos via Google Maps and Wikimedia Commons
Rebecca Trent, the owner and operator of Long Island City's The Creek and The Cave comedy bar, said that she heard secondhand that her venue was going to get a visit from arguably the most widely known name brand of the alt-right media sphere: Milo Yiannopoulos.
"Legion of Skanks," a podcast that the club hosts every week, is currently scheduled to host Yiannopoulos at 9:30 p.m. on May 27, according to the podcast's Twitter feed. Once she heard about their plan to host the rightwing troll, Trent said, she asked the podcasters to relocate their event to another studio or venue.
Trent said that she has been getting messages not just from outsiders on social media, but people in the comedy scene and others close to her asking her not to host the controversial character.
After Yiannopoulos became famous in his former role as a Breitbart editor, the rightwing provocateur has had a series of setbacks over the past two years.
Publisher Simon & Schuster canceled his book deal in 2017 after he publicly defended sexual relationships between adult men and boys. Facebook and Instagram also deleted his accounts this past May for promoting "violence and hate."
Hey everybody, that hate-speech lovin, pedophilia apologist Milo is going to be at @creekandcave next week, so hopefully none of you will be. Ever again. Sorry, creek, loved ya but this is a real bad look. Comedy peeps, speak up!
— """"""""""""""""""""""Ke (@kevinasarobot) May 23, 2019
The Legion of Skanks podcast is no stranger to alt-right figures. Last year, they hosted Gavin McInnes, leader of the Proud Boys, a far-right group with strong white nationalist ties.
On Wednesday, Luis J. Gomez, one of the co-hosts, posted a Twitter video explaining his decision to invite Yiannopoulos, and saying that he did not see the controversy coming.
"I don't pay attention to politics at all. At all. The only thing I know about Milo is from these Youtube videos like 'Milo destroys a feminist,' and he's just a flamboyant homo. It's hilarious," Gomez said.
Gomez goes on to say that he does not have a solid understanding of the outrage over Yiannopoulos and entreats anyone viewing the video "to shed some light on this."
Trent's push to get the event out of her venue is not resolved, but she emphasized that it was the podcast's idea to invite Milo, not the venue's. She says she hopes to take the event off the calendar soon.
Trent said she would have liked to have avoided this "dumpster fire" altogether. She doesn't want to provide a forum for Yiannopoulos nor, in the likelihood that the event would attract protesters, create a spectacle that would provide him with the attention he craves.


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MACASKILL, Ann (2015). Personality. In: SEGAL, Robert A and VON STUCKRAD, Kocku, (eds.) Vocabulary for the Study of Religion. Brill.
This chapter describes the concept of personality and various models of personality that are applicable to researchers in the area of religious studies.


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