Why I'm At VBS T-Shirts: Out of the long list of reasons why I love being at VBS T-shirts, my favorite is making someone's day! Whether that is getting their shirts to them a few days earlier than expected, or taking their idea and creating a design that they're proud to wear, I get giddy when they have a great experience!
What Makes Me Smile: Faith. Family. Friends. Hot sauce. Also, acronyms and a clean font or logo.
What Bugs Me: Terrible customer service makes me the most frustrated! I strive to treat everyone the same way I would like to be treated.
Where I'm From: Born and raised in the San Fernando Valley, California, I'm a unique blend of Filipino, Irish, Spanish, and Chinese.
Stuff I Like: The Buffer Zone. Basketball – on any level…I coached it for 8 years at my alma mater, St. Genevieve High School. I enjoy almost every type of music, as long as I can bob my head and air-drum to it. I'm a die-hard Los Angeles Lakers fan by day, and a die-hard Los Angeles Lakers fan by night.
Why I'm At VBS T-Shirts: God is so deep at work in so many churches and schools and organizations and He allows me, through Impact, to play a supporting role. And each person here is unique, gifted and passionate about what they do and they each inspire excellence.
Why I'm At VBS T-Shirts: I love the people that work here. Each one loves the Lord and the work ethic is awesome. Of course they are all youngsters compared to me. They never cease to amaze me at their speed in looking up things on the web. Also I love our beautiful customers. They're excited about their new shirts and the event where they'll be wearing them. I get to share in a little bit of their loves and ministries.
Why I'm At VBS T-Shirts: I love the Team atmosphere, The Challenge of being creative and realizing the vision of our customers. Working at Impact shirts allows me to serve those who serve others.
Why I'm At VBS T-Shirts: I love the serving aspect most about Ministry Gear. I think it's one of my so-called love languages because it feels awesome to help out even when not asked. I also love that it feels like a second family away from home working with everyone at Ministry Gear.
Why I'm At VBS T-Shirts: First, I come from a long line of storytellers. Second, I'm good at getting the word out about awesome stuff. Put that together and I'm here to tell the story of the awesome stuff MinistryGear does… great design for great ministries!
Why I'm At VBS T-Shirts: I am blessed to have the opportunity to help spread God's message through awesome design while working with a team of talented and supportive individuals.
What Makes Me Grin: My family, friends, pets, serving in church, traveling, and dancing.
What Gets Under My Skin: Unkind people, stray animals, when the Dodgers lose.
Ask Me About: Scandal, HGTV shows, true crime shows/documentaries, playing guitar, singing in choir, Zumba, and exploring new food spots.
Why I'm At VBS T-Shirts: Love the atmosphere learning about the t-shirt world and the fact that I can wear t-shirts to work!
Why I'm At VBS T-Shirts: I love the sacrificial attitude of the team. Commitment to our values starts at the top and flows through all of VBS T-shirts. Getting to use my abilities to assist leaders brings me great joy and satisfaction.
Ask me about: What I'm cooking for dinner tonight. Plants. Vintage Clothes. Why Bob Dylan is the GOAT.
Why I'm At VBS T-Shirts: My friend and I started VBS T-shirts to serve pastors and their ministries. I am passionate about using my gifts to serve the church and get excited at the prospect of being able to assist these front line workers who are spreading the love of Jesus.


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Pfizer CEO: Life Back To Normal In A Year, Annual COVID Shot May Be Needed
Sep 28, 2021 DailyWire.com
Anna Efetova via Getty Images
Pfizer CEO and Chairman Albert Bourla says life will return to normal within a year, but an annual COVID-19 shot is likely to be needed.
"Within a year I think we will be able to come back to normal life," Bourla said in an interview on ABC's "This Week."
But it will be a "new normal."
"I don't think that this means that the variants will not continue coming, and I don't think that this means that we should be able to live our lives without having vaccinations," Bourla said. "But that, again, remains to be seen."
"The most likely scenario for me is that, because the virus is spread all over the world, that it will continue seeing new variants that are coming out," Bourla said. "Also we will have vaccines that they will last at least a year, and I think the most likely scenario is annual vaccination, but we don't know really, we need to wait and see the data," he added.
Bourla's prediction echoes that of Moderna CEO Stéphane Bancel. When asked last week when things will return to normal, Bancel said, "As of today, in a year, I assume," he said.
"If you look at the industry-wide expansion of production capacities over the past six months, enough doses should be available by the middle of next year so that everyone on this Earth can be vaccinated," Bancel told Swiss newspaper Neue Zürcher Zeitung, Reuters reported Thursday.
Bancel said that even people who do not get the vaccine will "immunize themselves naturally" because the Delta variant of COVID-19 is highly communicable.
"In this way we will end up in a situation similar to that of the flu. You can either get vaccinated and have a good winter. Or you don't do it and risk getting sick and possibly even ending up in hospital," he added.
Bancel reportedly added that Moderna is "currently testing Delta-optimized variants in clinical trials."
"They will form the basis for the booster vaccination for 2022. We are also trying out Delta plus Beta, the next mutation that scientists believe is likely," he said.
Global vaccine data shows that approximately 44% of the world's population has received at least one dose of a vaccine. But President Joe Biden on Monday moved the goalposts again, saying nearly everyone must be vaccinated before the virus ebbs.
After receiving a booster shot at the White House, Biden was asked, "How many Americans need to be vaccinated for us to get back to normal?"
"97%, 98%," Biden said. "I think we'll get awful close. But I'm not the scientist. I think one thing is for certain. A quarter of the country can't go unvaccinated and us not continue to have a problem."
Dr. Anthony Fauci, director of the U.S. National Institute of Allergy and Infectious Diseases (NIAID) and the chief medical advisor to Biden, had previously predicted that herd immunity would only require 70% to 85% of Americans to be vaccinated.
While experts didn't know exactly how many Americans would need antibodies to reach herd immunity as the pandemic began, the number ranged from more than 50% to upwards of 70%. Early on, Fauci, the top U.S. immunologist, put the number at 60% to 70%, but in April he started upping that number, saying in an interview with CNBC News that it would be "75, 80, 85%."
But last month reports emerged that herd immunity may be unattainable as the virus keeps changing.
"This month, the Infectious Diseases Society of America estimated that delta had pushed the threshold for herd immunity to well over 80% and possibly close to 90%," Bloomberg reported. "Public health officials like Anthony Fauci have drawn controversy by shifting the goalposts over the past year, increasing the number of people who need protection before hitting herd immunity. Meanwhile, vaccine hesitancy and supply issues mean most countries won't get close to even the original numbers."
The Daily Wire is one of America's fastest-growing conservative media companies and counter-cultural outlets for news, opinion, and entertainment. Get inside access to The Daily Wire by becoming a member.

redpajama_set_name: RedPajamaCommonCrawl


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What Causes Anxiety?
This post explains how anxiety emerges from the interaction of perceptual and neurological processes, and explores how this understanding can help us to overcome it.
Disclaimer: we are a group therapy practice specializing in the treatment of anxiety and anxiety disorders. We are not, however, licensed to practice internal medicine. Because of this, and because anxiety symptoms can (in rare instance) be the result of an underlying physical condition, you should also consult your primary care physician if you experience symptoms of anxiety. Because most anxiety is psychological in origin, and is usually best treated through therapy, it is a good idea to get connected to a mental health counselor in your area. You may also wish to supplement your anxiety treatment with medications such as benzodiazepines or SSRIs. For this, you will need a prescription from your Primary Care Physician (PCP), a Psychiatric MD (Psychiatrist), or a Psychiatric Nurse Practitioner (ARNP). If you live in the Seattle area and would like some referrals, feel free to shoot us an email. You can reach our admin assistant at info@seattleanxiety.com
What we don't know about anxiety…
Anxiety is not just an uncomfortable emotion, it is also often a confusing one. The confusions that surround anxiety can exacerbate it, can cause it to snowball. When we do not understand why we feel anxious, or what to do about it, we may become increasingly anxious about becoming anxious. Anxiety feeds on confusion and uncertainty.
Too much of the information that is available on anxiety fails to explain how anxiety comes about, and as such does little to dispel this uncertainty. The most common way of explaining why people get anxious is by appeal to situational triggers. Now, this is not an unimportant part of the story about why we get anxious, but it is certainly not the part that is mysterious to those suffering from anxiety. Most anxiety sufferers do not need anyone explaining to them that certain situations make them feel more anxious. They get it. They also tend to have a pretty good grasp on what those situations are.
Usually, mention of the mechanisms by which anxiety comes about are entirely missing from discussions on the subject. This is forgivable, seeing as anxiety is both physiologically and psychologically quite complex. Furthermore, most of those who write in a public format about anxiety (e.g., in blog posts or magazines) are not clinicians (psychologists, psychiatrists, etc.), but are instead people sharing their experiences of dealing with anxiety - something that is of course also quite valuable and which has an entirely different aim.
In what follows, I want to give a sketch of the mechanisms that conspire to bring about anxiety. This will not be a complete sketch and will not be without exception. However, it will be thorough and general enough to give you a sense of what's happening when you're experiencing psychogenic anxiety (anxiety with a psychological origin). Note that while most anxiety symptoms are psychogenic, some anxiety symptoms are somatogenic (arising from a physical rather than a psychological cause). Because of this, you should consult your primary care physician if you experience anxiety symptoms. They will be able to help you determine if your symptoms are the result of an underlying medical condition. Setting somatogenic causes aside, however, we can turn our attention to how the brain, in collaboration with other parts of the nervous system, manages to generate anxiety.
The Autonomic Underpinnings of Anxiety
Your autonomic nervous system plays an important role in the emergence of anxiety, so much so that certain of its behaviors are often conflated with anxiety - even sometimes by psychologists. Now, the autonomic nervous system is automatic ("auto-"), meaning that it does its own thing (you do not get to just pick and choose when it does what it does), and lawlike ("-nomic"), meaning that there are very few exceptions with regard to its behavior.
Your autonomic nervous system is split into two sub-systems. There is the sympathetic division (sympathetic nervous system) and the parasympathetic division (parasympathetic nervous system). These two subsystems are in a kind of competition for resources, meaning generally that when one is more activated the other will be less activated.
Parasympathetic system activity is often associated with calmness and relaxation. The parasympathetic system plays an important role in a number of processes, many of which we might think of as vegetative - things like digestion, automatic breathing, sleeping, and the physical aspects of sexual arousal. The sympathetic system, by contrast, is often associated with alertness and excitation. When we are in a state of sympathetic activation we may experience increasing heart rate, constricted blood vessels, increased blood pressure, pupil dilation (and tunnel vision), perspiration, as well as muscle tension and twitching.
As sympathetic activity increases it can lead to parasympathetic deactivation. Because the parasympathetic division controls digestion, this can bring with it a shutdown of digestive processes, leading to symptoms such as dry mouth, loss of appetite, and even nausea. Other symptoms of parasympathetic deactivation include "forgetting to breathe" (a shutdown of automatic breathing and a need to start breathing intentionally), difficulty becoming sexually aroused, and difficulty falling asleep. This transition can even lead to increased (sometimes unintentional) urination and voiding of the bowels.
Because sympathetic activation is often experienced as a kind of discomfort, habits can easily form as a means of repressing it. Usually, these are habits that stimulate a countervailing parasympathetic response - for example, eating food, drinking alcohol, and engaging in autoerotic activity (i.e., masturbation).
Now, a lot of these features of sympathetic activation are recognizable as symptoms of anxiety. And because of this, there is a common error that gets going right here. It is easy to look at sympathetic activation and say "That's it. That's anxiety!", but we should resist this temptation. Because although sympathetic activation plays an important role in anxiety, it is not itself anxiety. And it is not just that sympathetic activation is not anxiety… it is not even an emotion, not in itself anyway - although it does play a foundational role in a number of emotions including anxiety, anger, and excitement.
The Role of Perception in Anxiety and Other Emotions
With sympathetic activation identified as a necessary ingredient in the emergence of anxiety, we are left with two questions. First, where does sympathetic activation come from (what triggers it)? And second, how does this activation lead to anxiety? The answer to both of these questions is perception - but that needs quite a bit of unpacking.
Perceptions are the primary triggers of sympathetic activity - specifically, perceptions of challenges. Here, challenges can be conceptualized as gaps between the way things are and the way they should be - gaps that are at least in principle bridgeable - even if only by very rickety bridges. Sympathetic activity increases as perception of challenge increases (in terms of quantity, significance, complexity, and so forth).
If you have a lot of sympathetic activity, that is almost certainly because you perceive lots of challenges. You see challenges within challenges, and challenges within those challenges. Sometimes, you might feel overwhelmed by all of these challenges - you might feel like you are drowning in challenges. And at the risk of sounding pollyanna, I want to suggest that this is a very good problem to have. After all, the fact that you are perceiving so many challenges tells us that you are really quite perceptive. Your perceptiveness, in turn, is mostly just a function of intelligence, creativity, and functioning sensory organs. This is a set of assets, perhaps some of your greatest assets, that have somehow managed to become a liability - again, perhaps your greatest liability.
With the path to sympathetic activation laid out, we can turn our attention to how it becomes anxiety. But because anxiety is an emotion, we should first ask ourselves "what is an emotion?" This is a psychological question that, much like the question of anxiety, does not get the consideration it deserves. In part this is because it is often difficult to answer such an abstract question in a way that is not just trivially circular (as in: "it's how you feel."). A good initial answer turns out to be quite simple, but surprisingly unintuitive.
Emotion is an ever present part of our experience. Just as a sentence is always said in some tone or other, we are always in some mood or other, always experiencing things from some emotional state or other. Even a Spock like "absence of emotion" is still technically an emotional state - a subtle, pervasive, and unrelenting calm.* Now, our emotional state is much more complex than Spock's - we might simultaneously feel anxious about certain things, calm about others, angry about some things, sad about some, and so on and so forth. An emotion is a way of perceiving ourselves in relation to something, and we are in relation to very many things.
Our emotional state is determined both by which of these relations we are bringing our attention to and how we are bringing our attention to them. This second piece is crucial because it means that our emotional response to something depends on how we perceive it - not just that we perceive it - and there are a number of different ways to perceive sympathetic nervous system activation. This activation is the foundation, the somatic referent, for the anxious and fearful family of emotions. However, it is also the foundation for other high energy emotions, including anger and excitement.
*Anyone who has actually watched Star Trek will know that Spock's emotional life is much more complex than this caricature - but it is a helpful caricature nonetheless.
Anxiety - Too Much of a Good Thing
The crux of the issue is that there are those who suffer from a lack of life and those who suffer from an overabundance of it.
The dull and the depressed both suffer from a lack of life in their own way. Dullness carries with it a lack of sympathetic activation because it is grounded in a lack of perceptiveness… meaning fewer challenges are perceived, and even when they are perceived their full gravity and complexity is usually not apprehended. Depression also rests on an, albeit temporary, inability to perceive challenges. But here it is not perceptiveness that is wanting. The difference is more nuanced. In depression there is an acute awareness of gaps, of distances between the way things are and the way things should be. But in depression, many of these gaps seem unbridgeable. And if they can't be bridged, they don't show up as challenges… only as occasions for sadness. When what is wrong seems like it cannot be made right, actions become pointless for us - at the limit, everything seems pointless: getting out of bed… bathing… living. Nothing is off limits.
However, it is not in the lowest depths of depression that one is at the highest risk for suicide. Most dangerous is the beginning of the ascent out from these depths. For it is here that one is beginning to see more gaps as challenges - it is here that energy again comes back, that the potential for action returns - it is here that sympathetic activation begins again in earnest.
In the face of challenges, sympathetic activation gives us this energy, a kind of life, and it is up to us to figure out what to do with it. There is much at stake here. For if we cannot embrace it, if we reject this energy, this life, it will not just go away. It stays there, coursing through our veins. Without an outlet, it stagnates there, sours, and rots. Turned inward, that energy becomes a liability and a source of profound misery.
What Causes Panic Attacks?
Perception of challenges increases sympathetic activation, and in anxiety our sympathetic activation is experienced as a kind of challenge - as a problem that we need to do something about. We see what is happening in our body as a roadblock to overcoming many of the other challenges in our lives - often in proportion to how important those challenges are. This makes anxiety unique among challenges. It is a kind of meta level challenge that has its fingers in all the other important challenges we face. In this way it takes on a seriousness, a weight, through which it exacerbates itself.
When we see sympathetic activation as a challenge, our sympathetic activation increases. Again, this is because sympathetic activation is tied to perceptions of challenge. This increase in our sympathetic activation in turn also increases our perception of the challenge. It is a vicious circle. As it turns, we increasingly begin to feel that things are going to be difficult or uncomfortable. As we watch our sympathetic activation increasing - and with it our anxiety - we may worry that it will continue to increase. Again, this makes the challenge appear even greater. With such a great challenge on our hands we will be tempted to try and understand, not just its trajectory (which at this point seems dire), but also its origin. Such a profound set of symptoms can seem like it demands a profound explanation - for example, that we are having a heart attack - that we are dying.
Anxiety, and at the limit panic, comes as if out of nowhere - feeds on uncertainty, feeds on ignorance, feeds on itself.
Archetypal Lessons from Anxiety
There are a number of archetypal lessons that crop up for us once we see what's happening in anxiety. For example, notice that the hero and the coward are neurologically quite similar. What ties them together is their perception of challenges - challenges that others around them, more neurotypical individuals, might not notice. In response to noticing all these challenges, they are saddled with heightened sympathetic activation. One of them experiences this activation as an asset, as readiness for action, as excitement - as courage. However, the other experiences this same sympathetic activation as a liability, as an inability to act, as anxiety - as cowardice.
Perhaps the most salient perceptual difference between the hero and the coward, shows up in their locus of control. The coward experiences things as happening to them, as being changed, while the hero experiences themselves as the source of this change. The coward experiences the world impinging on them, while the hero sees themselves as impinging on the world. Cowards feel powerless. They feel vulnerable - like things are out of control. The transition from coward to hero is experienced as a loss of one's powerlessness.
Similarly, we notice a kind of neurological similarity between predator and prey. When prey is in the presence of a predator, its sympathetic nervous system is activated. By design, the prey experiences this activation as anxiety, as a profound discomfort that tells it that it needs to run for its life. The predator also experiences sympathetic activation in these situations - that is, whenever it is in the presence of prey. However, the predator does not experience anxiety. Quite the opposite. The predator experiences their sympathetic activation as excitement.
The Short-Term Goal of Therapy for Anxiety
Anxious individuals often assume that the best course of action is to try and feel more calm. They want to be more like Spock when faced with a stressful situation - cool under pressure. However, this is just one alternative among many. There are a number of ways to experience something other than anxiously and calmly. This isn't a criticism of anxious individuals. Far from it. We all do this. Our cultural understanding of anxiety frames the issue in this way.
When we feel anxious, it is normal to feel like prey, as if a predator is bearing down on us. What our anxiety seems to be telling us is that we need to escape. And although we might dream of being magically transported to safe space, free from challenges - how prey might feel if they were transported to a perfect garden, full of abundance, without a predator for hundreds of miles - we also dream of being able to handle these stressful situations without having to escape. Our highest dream is one of being able to go through these situations calmly, without having a strong emotional response to them.
While these are attractive visions, they both fail to respect lived psychological realities. We cannot feasibly escape from the things that are provoking our anxieties - nor can we "just snap out of it" or "just calm down". These visions are unhelpful, tending only to produce an onslaught of additional negative emotions such as shame and depression when we inevitably find ourselves unable to make them a reality.
It is important to emphasize that this Spock-like image of how we should behave in stressful circumstances is a kind of culturally constructed norm. That anxious people should be calm, and that becoming calm should be easy; these are some of the most widely held beliefs about anxiety. Again, this is an attractive image, but it is also a false image - one that, like the fantasy of a world free from challenges, fails to correspond with human psychology.
The actionable lesson that falls out of this understanding of anxiety is that excitement is often an easier emotional space to access than calmness. By reframing what is ahead of us as exciting rather than as threatening, we can begin to feel less anxious. Similarly, by reframing what is happening in our body during moments of sympathetic activation as energy or excitement, rather than as anxiety, we can come to feel less anxious.
Accessing this perspective, a vision of ourselves as capable, a vision of ourselves as free from vulnerability - this is what is required to transform our emotional life. Unfortunately, this is not an easy task. Sometimes individuals can manage this reframe on their own, but often psychotherapy is needed. This is the short term goal of psychotherapy for anxiety - to help individuals transition from anxiety into excitement.
The Long-Term Goal of Therapy for Anxiety
The long term goal of therapy for anxiety is calmness. How this is achieved has less to do with reframing and more to do with investigating deeply rooted beliefs, interpersonal tensions, insecurities, and so forth that may be generating a distortion in their view of the world and of themselves - a distortion that exacerbates their perception of challenge and keeps them in a chronic state of heightened sympathetic activation.
Thanks for tuning in Seattle! Check back soon at seattleanxiety.com for more great blog posts.
Tagged: Anxiety, Stress, Therapy, Treatment, Seattle, Ontology, Philosophy, Psychology, Counseling
The Most Anxious Time of the Year
Why the holidays reveal our deeply rooted anxieties... and how we can make them a bit less miserable.
This blog post is about the effect that the holidays can have on anxiety and about what can be done to cope with this anxiety.
Disclaimer: I am a therapist specializing in the treatment of anxiety - and although what I have to say below may be of benefit to many who suffer from anxiety, it is not intended as medical advice. Be aware that the symptoms of anxiety can sometimes be the result of other medical conditions. As such, if you suffer from anxiety, you should consider both visiting your primary care physician (to screen for other medical issues) and seeking treatment from a qualified psychotherapist (to overcome any anxiety that is psychological in origin).
The holidays are supposed to be a joyous and relaxing break from our lives. They are meant for spending quality time with our family members, away from the stress of work and other obligations. They are supposed to be "happy." However, this image of the holidays is often more comical than accurate. For those who suffer from anxiety, the holidays can prove to be one of the most challenging times of the year.
There are a number of reasons for amplified anxiety during the holidays: long standing tensions between family members stand to be rediscovered; old ways of thinking get triggered and lead us to feel and act like past versions of ourselves; the extra expenses at this time of year compound one another. These and other issues often conspire to make the holidays remarkably stressful.
It is no surprise then that January and February are two of the busiest months of the year for therapists and counselors. After the holiday lull, the therapists in Seattle experience an influx of calls from those seeking to do something about anxieties recently rediscovered through holiday gatherings. The interest is often so great that many therapists and counselors end up with packed schedules by February and have to create waiting lists for new clients.
Choosing to go to therapy is a good option for many. However, it is a long term solution - something certainly not intended as a short term fix to the intensified stress and anxiety of the holidays. Below, we will look at some reasons why the holidays are uniquely stressful and discuss an effective mindfulness based strategy for dealing with the attendant anxiety in the moment.
Interpersonal Tensions
Anxieties are often driven by unresolved interpersonal tensions. These tensions usually arise between individuals who play important roles in each others' lives. Not surprisingly, they are most commonly found between parents and children, between romantic partners, and between siblings. These tensions take time to develop, but can stay entrenched for decades if they are not addressed in good faith. This helps explain why many interpersonal tensions are carried over into adulthood from childhood and adolescence.
Close proximity and time are the primary factors involved in bringing out these tensions. When we spend substantial amounts of time with the important people in our lives, we set the stage for these tensions to be revealed - or developed.
Reverting to Old Patterns
The holidays can also trigger old ways of thinking, feeling, and acting. These patterns may remain dormant for years, but are able to manifest automatically in the right settings. This is because the neural pathways involved in producing these thoughts, feelings, and behaviors are often still in place - requiring only the right situational trigger to activate them.
This helps explain why so many people feel like they are reverting to their "high school self" when they return to their hometown for the holidays. Familiar surroundings and familiar people are the most common triggers for this phenomenon. At the limit, for those who have become comfortably adjusted to a new way of life in a new place and around new people, reverting to old patterns in this way can produce an identity crisis.
Everyday Anxiety Triggers
While the above phenomena play an important role in explaining why (often deeply rooted) anxieties get revealed during the holidays, other more everyday reasons for increased anxiety are also frequently at play. These everyday triggers of anxiety include being in social settings (especially those in which one might feel judged), being in places with lots of sensory stimulation (noise, light, etc.), dealing with strains on financial resources, being away from work, travelling, and so forth.
For example, socially anxious introverts often find themselves facing a dilemma during their holiday gatherings. Attending these gatherings can mean several hours, or even days, during which it seems unacceptable to bow out and take some "me time." They feel increasingly uncomfortable, but are often not willing or able to extricate themselves from the situation out of fear of being judged.
At most other times during the year, a socially anxious person could easily excuse themselves and leave. However, during the holidays they feel trapped. This feeling of being trapped manages to come along also with the other triggers listed above. That is, during the holidays, these triggers are relatively unique insofar as they are all more or less inescapable.
A Holiday Mindfulness Practice
Although it can be difficult, making room for yourself during the holidays is a necessity. If you can, take a break from the festivities, take some time for self-care, and try to show yourself a bit of compassion. Like most people, you probably love doing certain things during the rest of the year. To relieve stress, it can be helpful to identify and try to make room for these same things during the holidays. For some, this is going on a walk and listening to their favorite album. For others, it can mean physical exercise, meditation, reading the paper at a coffee house, journaling, and so forth. The point is to do something that you like, at least momentarily, instead of carrying on only doing what you think you should be doing.
Even if you can't get away, just stepping back internally from your distress can be helpful. What does it mean to step back internally? The idea here is to remind yourself that, when you notice that you're feeling stress or emotional discomfort, that you can improve how you feel if you adopt the right approach toward your discomfort. An example of this approach is laid out below:
To try this, first see if you can find the discomfort on a felt level - as a bodily response to the situation. Notice not just that you are uncomfortable, but try to step back from that discomfort and examine it. Notice that it has a particular character that you can appreciate by detaching yourself from it. You can focus on it like you might focus on a particular color or texture. Try to view these felt sensations of discomfort, as they arise in your body, as if you were observing them from a distance. Try to notice and be curious about them. Let yourself appreciate them rather than trying to "do something" about them.
If you want to go even further with this approach you can incorporate some mantras (mental scripts). I'll provide three that typically work well. When you're ready, say to yourself slowly, in your head if you have to, the following three mantras in order.
First: This is a moment of suffering. This is difficult. This is tough. This is not easy.
Second: Suffering is part of living. It is common to all of humanity. Many other people feel this way. We all struggle in our lives.
Third: May I be kind to myself? What do I need? May I accept myself as I am? May I give myself the compassion that I need? May I forgive myself? May I be strong? May I be safe?
Finally, and especially if you're having trouble doing the previous part, imagine that a dear friend or loved one had a similar difficulty as you. What would you say to this person? See if you can offer the same words, the same message, to yourself.
Feel free to adjust the three mantras as you find it helpful to do so.
Other things that you can incorporate into this mindfulness practice are 1) telling yourself the situation, what it is that is happening in concrete terms; 2) realizing what you're feeling using words that really get at what you feel; 3) uncovering self criticism by looking for "should" language - for example: "I shouldn't feel this way"; 4) trying to understand yourself by asking "why might a good person feel this way?", "why might it be okay to feel this way?", and so on; 5) having the feeling. That is, just letting yourself have it. Let it flow through you. See if you can reduce the sense of tension by accepting rather than fighting it.
Thanks for tuning in Seattle!
Check back at seattleanxiety.com for more articles about anxiety and about what you can do to make a meaningful difference in your own life.
Tagged: Anxiety, Stress, Holidays, Mindfulness


Another week has passed and I would like to share a great Visual Novel that I was able to come across that will definitely make you cry? lol - Clannad is a very engaging Visual Novel with exceptional great drama, comedy and romantic content, with different routes involved. This was also adapted to an anime and scored great reviews from different critic - kindly check Nihon Review as one of the great reviewers available online.
If you are new to visual novel and would like to get the app, kindly refer to my previous post. If you would like to watch this fantastic anime, kindly refer to this page.
Clannad's story revolves around Tomoya Okazaki, a third year high school student who dislikes his life. Tomoya's mother (Atsuko) died when Tomoya was young, leaving his father (Naoyuki) to raise him. After the accident, Tomoya's father turned to alcohol and gambling, and had frequent fights with his son. One day, Naoyuki, while arguing with his son, slammed Tomoya against the window, dislocating Tomoya's shoulder. Ever since then, his father has treated Tomoya nicely, but distantly, as if Tomoya and he were strangers rather than a family. This hurts Tomoya more than his previous relationship with his father, and the awkwardness of returning home leads Tomoya constantly to stay out all night. Additionally, the injury disables Tomoya from participating in his basketball club, and pushes him to distance himself from his school and other activities. Thus his delinquent life begins. Tomoya's good friend Youhei Sunohara, who got thrown out of the soccer club for a dispute, is also a delinquent and often hangs out in his dorm room with Tomoya doing nothing much.
Comments - The anime is definitely well adapted but only centered to route - Nagisa Furukawa, hence to get a great view of the story, playing this game is definitely the right choice, however this is not a complete translation, as it only has five possible routes - routes that I have tested and completed, if you need a guide to complete the specific routes, kindly refer to this site.
Thanks and enjoy great story from this novel.


The legacy of misantrophy, a life of brutality, the aftermath.
The second album from mysterious Belgian act NDE is finally here.
Now a solitary enterprise, 'Kampfbereit' rings in a new era of isolation and desolation.
Gone are the Martial elements from 'Krieg Blut Ehre Asche' (CSR110CD) and instead the listener is engulfed in claustrophobic Death Industrial turmoil.
The music is the focus here.
Use your imagination while listening to it.


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CULT CLASSIC: DUKE PEARSON FEATURING BOBBY HUTCHERSON-THE PHANTOM.
dereksmusicblog ♦ May 2, 2021 ♦ Leave a comment
By June 1968, Atlanta-born pianist Duke Pearson was thirty-five, and was about to begin record the twelfth album of his career, The Phantom. It would be the seventh album he had recorded for Blue Note Records since he first signed for the label in 1959, and later that year, had released his debut Profile.
Duke Pearson's time at Blue Note Records was the most productive of his recording career. He signed to what was jazz's premier label in 1959, and later that year, released his debut album Profile. Tender Eyes followed in 1960 and was his second album for Blue Note Records which he called home for most of his career.
In 1961, Duke Pearson signed to Polydor and recorded his third album Angel Eyes. However, it wasn't released until 1968. By then, much had happened to Duke Pearson.
Next stop was Prestige where later in 1961 he recorded Dedication! Just like Angel Eyes, there was a delay in releasing the album and it wasn't until 1970 that it was belatedly released.
On January the '12th' 1962, The Duke Pearson Quintet recorded an album for the short-lived Jazztime label. This was Hush! which was released to critical acclaim later in 1961. Two years later Duke Pearson returned home to Blue Note Records.
He made the journey to Van Gelder Studio, in Englewood Cliffs, New Jersey, on the '21st' of November 1964 and recorded what was the most ambitious album of his career. Wahoo featured Duke Pearson at his creative zenith on what was one of best and most sophisticated albums of hard bop released during the mid-sixties. When it was released just before the end of 1964, it was hailed as the finest of Duke Pearson's career.
After releasing his critically acclaimed album Wahoo, Duke Pearson signed to Atlantic Records and recorded two albums during 1965. This included The Duke Pearson Nonet's album Honeybuns whig was recorded on May the '25th' and '26th' 1965 and was well received when it was released in 1966.
For his second album for Atlantic Records Duke Pearson was joined by an all-star band as he recorded what was an album of blues-tinged soul-jazz that ventures into hard bop. Just like its predecessor, reviews of Prairie Dog were positive. Despite that, Duke Pearson left Atlantic Records and once again returned to Blue Note Records.
Sweet Honey Bee.
This time it was for good, and Duke Pearson would call Blue Note Records home for the remainder of his recording career signed to the label. This began with Sweet Honey Bee which featured six Duke Pearson compositions and Big Bertha which he cowrote with Memphis Slim.
Joining Duke Pearson was all-star band that recorded Sweet Honey Bee at Van Gelder Studio on December the '7th' 1966. They were responsible for a series of musical masterclasses on what was hailed as one of the finest albums of Duke Pearson's career as he combined hard bop, post bop and soul jazz. It was released in 1967 and marked his return to the Blue Note Records' fold.
The Right Touch.
Buoyed by the success of Sweet Honey Bee, Duke Pearson and his band recorded the followup The Right Touch on September the '13th' 1967. He had written the six tracks that were recorded at Van Gelder Studio by his octet that included Stanley Turrentine, Freddie Hubbard and James Spaulding. They raised their game during a session producer by Francis Wolff.
During The Right Touch, Duke Pearson's music continued to evolve as he and his band combined Latin jazz, post bop and soul jazz. Critics hailed this as an almost flawless album and one of his finest albums. Duke Pearson was in a rich vein of form and it seemed could do no wrong.
Introducing Duke Pearson's Big Band.
Having recorded albums with a trio, quintet, sextet, octet and nonet Duke Pearson decided to record an album with a Big Band. The album Introducing Duke Pearson's Big Band was recorded at Van Gelder Studio on December the '15th' 1967 and this time, was produced by the bandleader himself. He had penned five of the nine track on the album which was a stylistic departure for Duke Pearson.
He was taking a risk by recording an album that was very different to the hard bop albums that had proven popular amongst jazz fans. His compositions on Introducing Duke Pearson's Big Band were very different but just as memorable. It was a case of expect the unexpected, while his interpretations of covers were captivating and left a lasting impression. Introducing Duke Pearson's Big Band might have been an experimental album, but it was also an album was the perfect showcase for the multitalented bandleader, composer and pianist when it was released in 1968.
The Phantom.
By the time Duke Pearson began work on his twelfth album The Phantom, he was an important figure at Blue Note Records. He had helped move the label in the direction of hard bop and shape the new sound in his role as producer. Duke Pearson had also worked as arranger and sideman at Blue Note Records. In 1963, he had played on Bobby Hutcherson's album The Kicker. Now it was time for the vibraphonist to return the favour on The Phantom which was billed as Duke Pearson Featuring Bobby Hutcherson.
For what would be Duke Pearson's twelfth album featured four new compositions including The Phantom, Bunda Amerela (Little Yellow Streetcar), Los Ojos Alegres (The Happy Eyes) and Say You're Mine. They were joined by covers of Willie Wilson's Blues For Alvina and The Moana Surf which was penned by flautist Jerry Dodgion. He was part of the band that recorded The Phantom.
The first session took place at Van Gelder Studio on June the '24th' 1968 when "Bunda Amerela (Little Yellow Streetcar) was recorded by the band. It feathered drummer Mickey Roker, bassist Bob Cranshaw, guitarists Sam Brown and Al Gafa plus pianist Duke Pearson. They were joined by Bobby Hutcherson on vibes and flautist Jerry Dodgion. Adding a Latin flavour was the percussion including congas played by Victor Pantoja and Carlos "Patato" Valdes who also played güiro. The result of this genre-melting album was recorded on September the '11th' 1968 with engineer Rudy Van Gelder and producer Francis Wolff.
When The Phantom was released later in 1968, critics discovered another ambitious album from Duke Pearson whose music continued to evolve. It was an album of post bop where he continues his mission to push musical boundaries. To do this, he add a healthy sprinkling of Latin percussion and complicated harmonies that were inspired by avant-garde music. This lesser musicians might have struggled to cope with, but most of the time this multitalented, experienced and versatile band cope admirably during this innovative and intriguing album.
Side A.
The Phantom opens with the ten minute title-track where the groove simmers and smoulders adding more than a degree of drama and tension on this cinematic opus. It sets the bar high for the rest of the album.
Very different is Blues for Alvina which has a much more understated arrangement and finds the band adopting a less is more approach. Space is left as the flute dances across the arrangement and drums and congas add a subtle accompaniment. Duke Pearson's piano has a slinky sound as it take centrestage on a track where blues, jazz and Latin music melt into one during three magical minutes.
Joyous and uplifting describes Bunda Amerela (Little Yellow Streetcar), which is largely because of the addition of the Latin percussion as the arrangement sashays along with Jerry Dodgion's flute and Bobby Hutcherson's vibes playing leading roles. Later, Duke Pearson's fingers dance across the keyboard during a spellbinding solo where the bandleader and composer steals the show.
Side B.
Los Ojos Alegres (The Happy Eyes) opens the second side of The Phantom and the Bossa Nova beat transports the listener to the Rio de Janeiro. Duke Pearson's piano and then the vibes atop the the crisp beat during what's akin to a slice of musical sunshine that's sure to brighten up even the dullest day.
It's all change on Say You're Mine which first featured on Donald Byrd's album The Cat Walk. It's a welcome addition and is a beautiful, tender and dreamy track where Duke Pearson and the band paint pictures with music. It brings to mind walking hand-in-hand with the one you love on a rainy day. Other times, the music is ruminative and invites reflection and contemplation.
The Moana Surf closes The Phantom and has starts of slowly and almost hesitantly as the guitar and flute combine. Soon, a drum roll, stabs of piano and vibes signal that it's all change as the tempo rises. Latin percussion is added and but it's the flute that plays a starring role before the baton is passed to the vibes and then the piano. In doing so, this allows some showboating and band members to showcase their considerable skills. Later, drums, hissing hi-hats and percussion combine and take centrestage but maybe for too long? When the arrangement gradually rebuilds it comes as a relief. The band is reunited and soon the track reaches a crescendo bringing the album to a close.
The Phantom was another ambitious album where from Duke Pearson where he combined elements of avant-garde, Bossa Nova, Latin jazz and post bop. It was the next step in his career and saw his music continue to evolve. Sadly, the album wasn't the commercial success he or Blue Note Records' new owners Liberty Records had hoped. Despite that, he stayed at the label he called home.
That was the case until 1971, when Duke Pearson retired from his position at Blue Note Records. The label's new owners had made changes and it was time for the thirty-nine year old to head for pastures new. Initially he taught at Clark College and in 1973 toured with Carmen McRae and Joe Williams. By then, the Duke Pearson Big Band was back in business and touring and things were looking good for its leader. Sadly, that wasn't the case.
Later in the seventies Duke Pearson received a crushing blow when he was diagnosed with multiple sclerosis, and he died on August the '4th' 1980 at the Atlanta Veterans Hospital aged just forty-two. That day, jazz and the wider musical community was in mourning at the loss of a truly talented pianist, composer, bandleader arranger and producer who left behind a rich musical legacy.
This includes The Phantom, which although it's one of the lesser known and sometimes overlooked album in Duke Pearson's impressive back-catalogue. The Phantom, is anther ambitious album from the Atlanta-born pianist whose music was continuing to evolve when it was released in 1968 and is a reminder of the late, great and multitalented Duke Pearson.
Posted in: Avant Garde ♦ Bossa Nova ♦ Hard Bop ♦ Jazz ♦ Latin Jazz ♦ Post Bop ♦ Soul Jazz
Tagged: Angel Eyes, Blue Note Records, Bobby Hutcherson, Duke Pearson, Duke Pearson Featuring Bobby Hutcherson, Francis Wolff, Introducing Duke Pearson's Big Band, Profile, Rudy Van Gelder, Sweet Honey Bee, The Phantom, The Right Touch, Tone Poet Series, Wahoo
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text:
Q: Simplify the following algorithm I am using a LINQ query to retrieve a certain number of KeyValuePair<string, string> stored in a Dictionnary (named Prix which can contain 1 to n KeyValuePair). With the result of this query I fill a DataRow (in the switch).The maximum of prices stored in the DataRow is 3 except if hasEAN is true, in that case the maximum is 2. if I have only 1 price in Prix I store only 1 price. The algorythm is as follow :
List<KeyValuePair<string, string>> prices;
if (this.Prix.Count > 1)
{
    if (this.Prix.Count >= 2)
    {
        if (this.hasEAN)
        {
            prices = (from kvp in this.Prix
                      select kvp).Take(2).ToList();
        }
        else
        {
            prices = (from kvp in this.Prix
                      select kvp).Take(3).ToList();
        }
    }
    else
    {
        prices = (from kvp in this.Prix
                  select kvp).Take(1).ToList();
    }
}
else
{
    prices = null;
}

switch (prices.Count)
{
    case 1:
        res[8] = prices[0].Key;
        res[9] = prices[0].Value;
        break;
    case 2:
        res[8] = prices[0].Key;
        res[9] = prices[0].Value;
        res[10] = prices[1].Key;
        res[11] = prices[1].Value;
        break;
    case 3:
        res[8] = prices[0].Key;
        res[9] = prices[0].Value;
        res[10] = prices[1].Key;
        res[11] = prices[1].Value;
        res[12] = prices[2].Key;
        res[13] = prices[2].Value;
        break;
    default:
        break;
}

I feel like it could be much simpler but im not familiar with LINQ queries.

A: At least the first part of your code can be shortened:
List<KeyValuePair<string, string>> prices = null;
if (Prix.Any())
{
    int count = Prix.Count == 1 ? 1 : hasEAN ? 2 : 3;
    prices = Prix.Take(count).ToList();
}

A: List<KeyValuePair<string, string>> prices = this.Prix.Count <= 1 ? null : (from kvp in this.Prix select kvp).Take(this.Prix.Count < 2 ? 1 : this.hasEAN ? 2 : 3).ToList();

switch (prices.Count)
{
    case 3:
        res[12] = prices[2].Key;
        res[13] = prices[2].Value;
            goto case 2;
    case 2:
        res[10] = prices[1].Key;
        res[11] = prices[1].Value;
            goto case 1;
    case 1:
        res[8] = prices[0].Key;
        res[9] = prices[0].Value;
        break;
    default:
        break;
}

A: This is certainly possible in one line with Linq as you can see from other answers but spare a thought for future maintainability, what will you do in future if your rules change to introduce more complexity?
You can simplify to only define the query once:
List<KeyValuePair<string, string>> prices;
//we'll always want at least one
int numberToTake=1;
//if we have more than one price though
if (this.Prix.Count>1)
{
  //check if we have more than 2
   if (this.Prix.Count >= 2)
   {
   //and if we have an EAN, take only 2 prices
    if (this.hasEAN)
    {
        numberToTake=2;
    }
    else
    {
     //if no EAN, take 3 prices.
      numberToTake=3;
    }
  }
}
prices = (from kvp in this.Prix select kvp).Take(numberToTake).ToList();
switch (prices.Count)
{
 //...your switch here.
}

and for best results, roll this into a function in your business rules for the object (whatever this is) that returns numberToTake, but if you only want to do compress to a single-liner just because it looks better, I would urge you to reconsider.

redpajama_set_name: RedPajamaStackExchange


text:
The young cast of "She Kills Monsters" will tackle subject matter that is particularly relevant for their age group, said Chris Boscia, who is directing the show (Chris Boscia Photo).
Saturday, November 16, 2019 4:04pm
With its latest production, "She Kills Monsters," Drama Dock will reach a milestone in its 43-year history of producing community theater on the island, presenting for the first time a work by a playwright of color.
The high-octane show, stuffed with comedy, puppetry and fight choreography, is by acclaimed Vietnamese-American playwright Qui Nguyen. It will open with a preview at 7 p.m. Thursday, Nov. 14, with performances continuing through Nov. 24.
Nguyen — whom The Chicago Tribune has described as "refreshing, break-the-rules writer" with a "ready embrace of pop culture, high-school speak and 'High Fidelity' cool" — is known for his work as the artistic director of Vampire Cowboys Theatre Company in New York City, as well as at many other esteemed venues in New York. He also began writing for Marvel Studio in 2016.
"She Kills Monsters" tells the story of a young woman who, after a tragedy, embraces her inner warrior to find a community of like-minded outsiders within the mirrored halls of the role-playing game, Dungeons and Dragons. The play debuted in 2011, at the Flea Theatre in New York City, and has gone on to be widely produced at venues nationwide.
Chris Boscia, who is directing Drama Dock's production of the show, said that he is proud to be working on the play, leading a cast filled with actors who are all 30 years old or younger through the physical, emotional and comedic rigors of the demanding production.
The play resonates with the issues facing many young people today, Boscia said, including messages about inclusivity, homophobia and the rights of the disabled.
"We rarely get a chance to experience these issues viscerally on stage, in a play that is humorous, adventurous and cutting- edge," Boscia said. "In the end, the play is empowering to girls and people of color and gays and everybody who ever considered themselves an 'other.'"
Boscia, who is Latino, also said that he was unaware that this was Drama Dock's first offering by a non-white playwright, but was proud to be at the helm for the occasion.
Drama Dock, founded in 1976, has staged well over one hundred productions including, ranging from community theater chestnuts such as "Arsenic and Old Lace" and "Harvey," to original works by local playwrights, to approximately 28 musicals including last summer's edgy "Tommy." All the productions are listed on a history page at dramadock.org — documenting a prodigious outpouring of work by the group, but also one that has not included shows by African-American, Asian-American, Indigenous or Latino playwrights.
"We didn't go looking for it, but it just so happened that the best play we could have done at this time just so happened to have been written by someone of color," Boscia said.
Originally from New York City, Boscia is a relative newcomer to Vashon but has worked in numerous Seattle venues including Seattle Rep, ACT Theatre, Intiman and The Empty Space. Boscia is also the founder and curator of Vashon's Readers' Theatre and has directed for Vashon's 14/48 playwriting festival. "She Kills Monsters" marks his Drama Dock directorial debut.
For his production, Boscia has reached out to young island actors, casting Maya Krah, Lucy Rogers , David Katz, Sky D'Artell, Elrik Baker, Marion Ray, Desiree McIntryre, Elizabeth Schoen, Jasmine Hagerty, Orion Moss, Phoebe Ray, Brette Flora, Alina Brown, Emily Bruce, Nathan Campbell and Madonna Regis in the show.
Kate Tobie, a theater professional recruited by Boscia to be the show's fight choreographer, shadow puppet director and movement director, had high praise for the cast, who have come to the play with varying degrees of experience onstage.
"Actors are becoming puppeteers, dancers, fighters, and warriors," she said. "I think all of us involved in this play have stepped out of our comfort zone at least a few times during this process."
Toby, too, had high praise for the play itself.
"At its heart, it is about the path to discovering who you are and finding the people who will help you along that path," she said, adding that her hope is that "audiences leave the theater with a renewed sense of what is possible with theater, that it is alive and relevant."
Producer Bonny Moss called the play "a joyful and tender romp through incredibly relevant and important issues," particularly praising its insights into the vivid and complex lives of young gamers.
Other well-known island artists who have signed on to help with the play include Adam Ende and Martha Enson, who are contributing puppetry and mask designs.
The show will have a sneak preview at 11 a.m. Thursday, Nov. 14, with performances continuing at 7 p.m. on Fridays and Saturdays, Nov. 15, 16, 22 and 23, and 1 p.m. Sundays, Nov. 17 to 24, at Open Space for Arts & Community. The play will also have a "pay what you can" performance on Thursday, Nov. 21. Regularly priced tickets are $20 for adults and $15 for students. Dungeons and Dragons parties get a special ticket price of $15 for groups of five or more. To purchase, visit openspacevashon.com.
Drama Dock suggests parental guidance audience for those younger than 14, due to mature themes that include violence, bullying, homophobia, language and frank sexual discussions.


text:
Wheels Young Designer of the Year to join HSV
Pictured: HSV.
The 2008 Wheels Young Designer of the Year Award has been won by Johannes Collopy, who will be spend six months with Holden Special Vehicles next year as part of the prize for this prestigious competition.
Johannes was one of more than a dozen entries received for this year's competition with the brief to design a HSV for the 21st century and beyond.
Specifically, entrants were presented with the following;
'By 2020, as a marque in its own right, HSV will release the most innovative and economical muscle car ever produced in this country. Considering HSV's commitment to outstanding performance and the likely environmental and social changes of the next 12 years, design that car.'
The judging panel for the award, chaired by Ged Bulmer, included Julian Quincey – Head of Design and Styling at HSV and Holden's Design Director Tony Stolfo.
Johannes' winning design, titled HSV GT.E revolved around the next generation of Australia's favourite muscle car company. An electric tourer with a range of 400km, but still high on performance with 475Nm of torque available to the driver of the two door coupe.
As part of his prize as Wheels Young Designer of the Year, Johannes will also receive $10,000 to travel to a Motor Show of his choice any where in the world.
Johannes will join Julian and Adam Dean Smith, another former Wheels Young Designer of the Year, for his internship at Clayton in 2009.


US singer Bruno Mars has been lined up to play Prince in an upcoming Netflix movie about the late singer's life.
Mars is known to be a huge fan of Prince since childhood, and a Netflix source told The Mirror it will probably be "the most nerve-racking move of his career" if it happens.
"Prince was one of his idols so to be asked to take on a hefty role like that especially as a debut acting move is full-on," said the source.
Despite the reports, neither Mars nor Prince's estate have yet responded to the claims.
Meanwhile, Piano & A Microphone 1983, an album featuring Prince's previously unheard solo rehearsals, will be released on September 21.
As reported on AAA Edinburgh last week, a previously unheard demo of Prince's 17 Days has dropped ahead of the release of the new live album – and you can listen to it right here.
The studio version of the track – inspired by girl group Vanity 6 – was originally released in 1984 as the b-side to When Doves Cry.
Another previously unreleased Prince song, Mary Don't You Weep, features on the soundtrack to Spike Lee's new movie, BlacKkKlansman.
"Prince wanted me to have that song, I don't care what nobody says," the director explained. "My brother Prince wanted me to have that song.
The Deluxe CD+LP format will include a 12" booklet featuring brand new liner notes written by Prince's engineer Don Batts, Paisley Park artist Jill Jones and Revolution member Lisa Coleman as well as candid shots of Prince including never before seen photos.


text:
Q: .NET MVC3 Stongly Typed Form Helper not passing the data to the action? I have a Model Wrapper class that wrap another model:
public class LogicPage {
    public MyPage Pg { get; set; }
}

public class MyPage {
     public string name { get; set; }
}

In my create form view I use strongly typed form helper:
@model MyAppCore.Components.LogicPage
@using (Html.BeginForm("Create","PageAdmin",FormMethod.Post)) {
     <div class="editor-field">
     @Html.EditorFor(model => model.Pg.name)
     @Html.ValidationMessageFor(model => model.Pg.name)
 </div>
 ...
}

In my controller, I define the action as:
[HttpPost]
public ActionResult Create(LogicPage logicpg)
{
   return View("View",logicpg.Pg);
}

However, when the MyPage Pg is displayed in the "View" which list details of the model (MyPage), no user inputted data are shown, the details of the page shown are all MyPage default values (initialized with default no parameter constructor of LogicPage).  Looks like data in the form are not passing to the model in the action.  Can someone please help me why the data is not passing?
To clarify more, I have two views "Create" form view of model LogicPage and the "View" detail view for model MyPage
Create.cshtml
@model MyAppCore.Components.LogicPage

View.cshtml
@model MyAppCore.Components.MyPage

Thanks

A: You say you're doing
[HttpPost]
public ActionResult Create(LogicPage logicpg)
{
   return View("View",logicpg.Pg);
}

But given that MyPage doesn't inherit from LogicPage, and your view expects an instance of LogicPage, I think  you should be doing:
[HttpPost]
public ActionResult Create(LogicPage logicpg)
{
   return View("View",logicpg);
}


text:
package com.introproventures.graphql.jpa.query.schema;

import static org.assertj.core.api.Assertions.assertThat;
import static org.assertj.core.api.BDDAssertions.then;
import static org.assertj.core.api.BDDAssertions.thenCode;

import java.util.Optional;

import javax.persistence.EntityManager;

import org.junit.Before;
import org.junit.Test;
import org.springframework.beans.factory.annotation.Autowired;
import org.springframework.boot.autoconfigure.SpringBootApplication;
import org.springframework.boot.test.context.SpringBootTest;
import org.springframework.context.annotation.Bean;

import com.introproventures.graphql.jpa.query.AbstractSpringBootTestSupport;
import com.introproventures.graphql.jpa.query.schema.impl.GraphQLJpaSchemaBuilder;
import com.introproventures.graphql.jpa.query.schema.model.book.Author;
import com.introproventures.graphql.jpa.query.schema.model.book.Book;
import com.introproventures.graphql.jpa.query.schema.model.book_superclass.SuperAuthor;
import com.introproventures.graphql.jpa.query.schema.model.book_superclass.SuperBook;
import com.introproventures.graphql.jpa.query.schema.model.uuid.Thing;

import graphql.schema.GraphQLFieldDefinition;
import graphql.schema.GraphQLList;
import graphql.schema.GraphQLSchema;

@SpringBootTest
public class BooksSchemaBuildTest extends AbstractSpringBootTestSupport {

    @SpringBootApplication
    static class TestConfiguration {
        @Bean
        public GraphQLSchemaBuilder graphQLSchemaBuilder(EntityManager entityManager) {
            return new GraphQLJpaSchemaBuilder(entityManager)
                .name("BooksExampleSchema")
                .entityPath(Book.class.getName())
                .entityPath(SuperBook.class.getName())
                .entityPath(SuperAuthor.class.getName())
                .entityPath(Author.class.getName())
                .entityPath(Thing.class.getPackage().getName())
                .description("Books Example Schema");
        }
    }

    @Autowired
    private GraphQLJpaSchemaBuilder builder;

    @Before
    public void setup() {
    }

    @Test
    public void correctlyDerivesSchemaFromGivenEntities() {
        //when
        GraphQLSchema schema = builder.build();

        // then
        assertThat(schema)
            .describedAs("Ensure the result is returned")
            .isNotNull();

        //then
        assertThat(schema.getQueryType().getFieldDefinition("Book").getArgument("id"))
            .describedAs( "Ensure that identity can be queried on")
            .isNotNull();

        //then
        assertThat(schema.getQueryType().getFieldDefinition("Books").getArgument("where"))
            .describedAs( "Ensure that collections can be queried on")
            .isNotNull();

        //then
        assertThat(schema.getQueryType().getFieldDefinition("Author").getArgument("id"))
            .describedAs( "Ensure that collections can be queried on")
            .isNotNull();

        assertThat(schema.getQueryType().getFieldDefinition("Authors").getArgument("where"))
            .describedAs( "Ensure that collections can be queried on")
            .isNotNull();
    }

    @Test
    public void correctlyBuildsSchemaForEntitiesWithEntityPath() {
        //when
        GraphQLSchema schema = builder.build();

        // then
        assertThat(schema)
            .describedAs("Ensure the result is returned")
            .isNotNull();

        assertThat(schema.getQueryType()
                         .getFieldDefinitions()).extracting(GraphQLFieldDefinition::getName)
                                                .containsOnly("Book", "Books", "Author", "Authors", "Thing", "Things", "SuperBook", "SuperBooks", "SuperAuthor", "SuperAuthors");
    }

    @Test
    public void correctlyDerivesToManyOptionalFromGivenEntities() {
        //when
        GraphQLSchema schema = builder.build();

        // then
        assertThat(schema)
            .describedAs("Ensure the schema is generated")
            .isNotNull();

        //then
        assertThat(getFieldForType("author",
                                   "Book",
                                   schema))
                .isPresent().get()
                .extracting(it -> it.getArgument("optional"))
                .extracting("defaultValue")
                .extracting("value")
                .isEqualTo(Boolean.FALSE);
    }

    @Test
    public void correctlyDerivesToOneOptionalFromGivenEntities() {
        //when
        GraphQLSchema schema = builder.build();

        // then
        assertThat(schema)
            .describedAs("Ensure the schema is generated")
            .isNotNull();

        //then
        assertThat(getFieldForType("books",
                                   "Author",
                                   schema))
                .isPresent().get()
                .extracting(it -> it.getArgument("optional"))
                .extracting("defaultValue")
                .extracting("value")
                .isEqualTo(Boolean.TRUE);
    }

    @Test
    public void shouldBuildSchemaWithStringArrayAsStringListType() {
        //given
        //there is a property in the model that is of array type

        //when
        GraphQLSchema schema = builder.build();

        //then
        Optional<GraphQLFieldDefinition> tags = getFieldForType("tags",
                                                                "SuperBook",
                                                                schema);
        then(tags)
                .isPresent().get()
                .extracting(GraphQLFieldDefinition::getType)
                .isInstanceOf(GraphQLList.class)
                .extracting("wrappedType")
                .extracting("name")
                .isEqualTo("String");
    }

    @Test
    public void shouldBuildSchemaWithStringArrayAsStringListTypeWithoutAnyError() {
        //given
        //there is a property in the model that is of array type

        //then
        thenCode(() -> builder.build()).doesNotThrowAnyException();
    }

    @Test
    public void testBuildSchema(){
        //given
        GraphQLSchema schema = builder.build();

        //then
        assertThat(schema).isNotNull();
    }

    private Optional<GraphQLFieldDefinition> getFieldForType(String fieldName,
                                                             String type,
                                                             GraphQLSchema schema) {
        return schema.getQueryType()
                .getFieldDefinition(type)
                .getType()
                .getChildren()
                .stream()
                .map(GraphQLFieldDefinition.class::cast)
                .filter(graphQLFieldDefinition -> graphQLFieldDefinition.getName().equals(fieldName))
                .findFirst();
    }

}

redpajama_set_name: RedPajamaGithub


One based on a new Financial Reporting Standard known as FRS 102, which replaces all earlier financial reporting standards and statements of standard accounting practice.
One for smaller charities with income less than £6.5m known as the FRSSE SORP. If you would like to know more about the FRSSE option read this article.
Both SORPs are published on a microsite in modular format and also downloadable as a pdf. In due course, the web-based format will allow you to select relevant sections or modules so that you can customise the SORP to your particular activities.
Download our overview of SORP 2015 here.
The SORP microsite also contains example accounts drawn up in the new format.
Summarised notes on how to apply the recognition criteria of entitlement, probability and measurement.
The new SORP reflects the FRS 102 requirement to disclose the total amount of employee benefits received by its key management personnel for their services to the charity.
FRS 102 requires entities that are members of multi-employer pension schemes to account for certain liabilities in a different way. Download this free guide from Spence and Partners here.
In addition, Spence and Partners have designed a FRS102 calculator which can be used to calculate the Net Present Value of pension contributions and also the potential reduction on that figure that could be derived from using a full FRS approach.
New company legislation effective for accounting periods ending on or after 30 September 2013 requires medium and large companies to include a strategic report in the directors report. This note explains how to incorporate the strategic report into your charity's trustees' annual report. Further information also available from the Charity Commission.


text:
Paramagnetic intrinsic Meissner effect in layered superconductors
A. G. Lebed
Free energy of a layered superconductor with ξ <d is calculated in a parallel magnetic field by means of the Gor'kov equations, where ξ is a coherence length perpendicular to the layers and d is an interlayer distance. The free energy is shown to differ from that in the textbook Lawrence-Doniach model at high fields, where the Meissner currents are found to create an unexpected positive magnetic moment due to shrinking of the Cooper pair "sizes" by a magnetic field. This paramagnetic intrinsic Meissner effect in a bulk is suggested to detect, by measuring in-plane torque, the upper critical field and magnetization in layered organic and high- Tc superconductors, as well as in superconducting superlattices.
Published - Jul 23 2008
Dive into the research topics of 'Paramagnetic intrinsic Meissner effect in layered superconductors'. Together they form a unique fingerprint.
Meissner Effect Chemical Compounds 100%
Meissner effect Physics & Astronomy 75%
Superconducting materials Engineering & Materials Science 72%
Free energy Engineering & Materials Science 66%
Superconductor Chemical Compounds 62%
Magnetic Field Chemical Compounds 52%
Superlattices Engineering & Materials Science 51%
Magnetic fields Engineering & Materials Science 48%
Lebed, A. G. (2008). Paramagnetic intrinsic Meissner effect in layered superconductors. Physical Review B - Condensed Matter and Materials Physics, 78(1), [012506]. https://doi.org/10.1103/PhysRevB.78.012506
Paramagnetic intrinsic Meissner effect in layered superconductors. / Lebed, A. G.
In: Physical Review B - Condensed Matter and Materials Physics, Vol. 78, No. 1, 012506, 23.07.2008.
Lebed, AG 2008, 'Paramagnetic intrinsic Meissner effect in layered superconductors', Physical Review B - Condensed Matter and Materials Physics, vol. 78, no. 1, 012506. https://doi.org/10.1103/PhysRevB.78.012506
Lebed AG. Paramagnetic intrinsic Meissner effect in layered superconductors. Physical Review B - Condensed Matter and Materials Physics. 2008 Jul 23;78(1). 012506. https://doi.org/10.1103/PhysRevB.78.012506
Lebed, A. G. / Paramagnetic intrinsic Meissner effect in layered superconductors. In: Physical Review B - Condensed Matter and Materials Physics. 2008 ; Vol. 78, No. 1.
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title = "Paramagnetic intrinsic Meissner effect in layered superconductors",
abstract = "Free energy of a layered superconductor with ξ ",
author = "Lebed, {A. G.}",
T1 - Paramagnetic intrinsic Meissner effect in layered superconductors
AU - Lebed, A. G.
N2 - Free energy of a layered superconductor with ξ
AB - Free energy of a layered superconductor with ξ


It is happening with the same sort of alacrity I invest in my triennial visits to the dentist, but gradually more sports bodies are starting to publish annual accounts.
FINA, governing body of swimming, one of the biggest Summer Olympic attractions, has joined this stately plod towards transparency.
It looks, indeed, as if their 2015, 2016 and 2013-2016 accounts have been available for some time, but, to be searingly honest, this has only recently been drawn to my attention.
It may well be, therefore, that this is not the first analysis of these figures you have read.
Even so, there are a few things that strike me as worth highlighting.
I should acknowledge too that I usually keep only the most cursory of eyes on FINA itself and the sports it oversees.
It could be then that numbers and trends which strike me as potentially comment-worthy or odd come across as readily comprehensible to aquatics experts.
If that is so, I hope that said experts will take the trouble to point this out.
First, the basics: FINA generated CHF181 million (£138 million/$183 million/€157 million) in the four years of the Rio Olympic cycle (2013-2016), up from CHF122 million (£93 million/$123 million/€106 million) in 2009-2012.
This was in spite of its International Olympic Committee (IOC)/Olympic Games-derived income rising only marginally, from CHF33 million (£25 million/$33 million/€28.5 million) to CHF36 million (£27.5 million/$36 million/€31 million).
Unlike quite a number of International Sports Federations (IFs), in other words, FINA's business model is strong enough to be largely independent of the Olympic Games-related cheques that emanate from the IOC in Lausanne once every four years.
This is underlined by the 2016-only accounts, which show that, while the IOC/Olympics provided over 50 per cent of income, the overall income figure of CHF59.5 million (£45.4 million/$60 million/€51.5 million) was actually lower than the CHF66.4 million (£50.5 million/$67 million/€57.5 million) generated in 2015.
I presume this is because of the strong portfolio of showpiece FINA events: not only is there a biennial aquatics World Championship - the 2015 edition was in currently football-focused Kazan - but all even years feature a world short-course event (2014 in Doha, 2016 Windsor, Canada, this coming December Hangzhou, China et cetera, et cetera).
FINA has done a good job, in other words, of ensuring a relatively regular flow of cash into the organisation - an issue that can be problematic for IFs.
Of that CHF181 million (£138 million/$183 million/€157 million) of 2013-2016 income, CHF134.8 million (£103 million/$136 million/€117 million) came accordingly from FINA events - up from CHF85.9 million (£65.5 million/$87 million/€74.4 million) in the London cycle.
Broadcasting and sponsorship climbed quadrennium on quadrennium from CHF55 million (£42 million/$56 million/€47.6 million) to CHF78 million (£59.5 million/$79 million/€67.5 million), with a further CHF25 million (£19 million/$25 million/€22 million), up from CHF7.6 million (£5.8 million/$7.6 million/€6.6 million), classified as value-in-kind.
The figures suggest that FINA has also been able to ratchet up fees: a category of income labelled "Host Cities World Championships partnership rights and fees" has soared from just CHF2.7 million (£2 million/$2.7 million/€2.3 million) in 2009-2012 to CHF16.2 million (£12.4 million/$16.4 million/€14 million) in 2013-2016 - a six-fold increase.
There is good news on the asset front too, with total assets more than doubling from CHF73 million (£56 million/$74 million/€63 million) to CHF157.7 million (£120 million/$159 million/€136.6 million) in the space of a quadrennium.
The 2016 figure includes CHF17.6 million (£13.4 million/$18 million/€15.2 million) for FINA's new headquarters, which it moved into in October 2016.
The balance-sheet also includes CHF45 million (£34 million/$45 million/€39 million) of deferred income - up from just CHF9 million (£6.9 million/$9 million/€7.8 million) in the space of four years.
Once again, this appears mainly the result of "Host Cities Partnership rights and fees", which rose from CHF6.5 million (£5 million/$6.5 million/€5.6 million) in 2012 to CHF33 million (£25 million/$33 million/€28.5 million) in 2016.
So far so good, but the expenses side of the ledger gives rise to rather more questions.
For one thing, these FINA events are not cheap: expenses for the Rio cycle reached CHF97.1 million (£74 million/$98 million/€84 million), up from CHF68.7 million (£52.4 million/$69 million/€59.5 million) in 2009-2012.
Part of the rise is explained by increased prize money - from CHF12.8 million (£9.8 million/$13 million/€11 million) to CHF23.4 million (£17.8 million/$23.6 million/€20.3 million).
However, so-called "FINA family expenses" for hotels, travel and per diems came to CHF18 million (£13.7 million/$18 million/€15.6 million) and CHF13.4 million (£10.2 million/$13.5 million/€11.6 million) seems to have gone to a marketing agent.
Without knowing more detail, these look high - especially in comparison to quadrennial spend on out-of-competition drug tests at just CHF4.2 million (£3.2 million/$4.2 million/€3.6 million), up from CHF2.7 million (£2 million/$2.7 million/€2.3 million), and development activities of CHF3.5 million (£2.7 million/$3.5 million/€3 million), up from CHF1.5 million (£1.1 million/$1.5 million/€1.3 million).
It could be that spending on these last two items is poised to increase: CHF19 million (£14.5 million/$19 million/€16.5 million) has been deposited over the past four years into "Development programmes reserves and funds", which stood at end-2016 at CHF23 million (£17.5 million/$23 million/€20 million) in all.
A further CHF15 million (£11.5 million/$15 million/€13 million) has been allocated to an Anti-Doping Foundation.
But development activities of just CHF3.5 million (£2.7 million/$3.5 million/€3 million) over 2013-2016 seem on the face of it very low – especially given that the first thing mentioned under FINA's main objectives is "to promote and encourage the development of aquatics in all possible manifestations throughout the world".
Turning to the 2016 accounts, one additional disclosure is that payroll costs were then running at around CHF5.5 million (£4.2 million/$5.5 million/€4.8 million) a year.
Given that there were said to be fractionally over 30 full-time positions at year-end, this seems to average out at some CHF182,000 (£139,000/$184,000/€157,500) per full-time employee - a tidy wage.
There is one other oddity for those of you for whom the name ISL – a collapsed sports marketing company – rings a bell.
Note 5 includes an entry for "Blocked bank account – ISL liquidation"; this stood at CHF261,074 (£199,199/$263,685/€226,090) at December 31, 2015 and zero a year later.
Turning to Note 11 of the 2013-2016 accounts, one reads: "The bankruptcy of ISLand its related subsidiaries, who provided marketing services to FINA, was declared on April 21, 2001.
"Following the official closing of this bankruptcy in 2016, cleared the unrecovered amount against the provision provided in previous years."
It took 15 years, or so it seems, for the last remnants of FINA's dealings with ISL to disappear from its accounts.
The wheels of the financial reckoners appear to turn exceeding slowly.
Alan Hubbard will return tomorrow.
David Owen worked for 20 years for the Financial Times in the United States, Canada, France and the UK. He ended his FT career as sports editor after the 2006 World Cup and is now freelancing, including covering the 2008 Beijing Olympics, the 2010 World Cup and London 2012.


If you own an internet business, your number one goal is to convert visitors into buyers. This is not as simple as it may sound. Consumers of today are critically aware of the perils and scams that pervade the internet . Legitimate businesses must find ways to separate their business from the herd of hooligans.
There are 9 vital steps you should take to improve the performance of youre-commerce business website.
1.Provide Answers to Frequently Asked Questions (FAQ's).
Informed consumers are used to researching products and services on their own. Well organized sections of FAQ's will be impressive and appreciated.
2.Provide Comparison to the Competition.
Do not allow your prospect to go to a competitor's site for information. Detail the difference and advantages on your own site for a more enhanced one-stop-shopping experience.
3.Provide Guarantees to Reduce/Eliminate Risk.
A simple 100% money back guarantee will always do the trick as long as you make it simple. Do not dilute the guarantee with restrictions and special exceptions.
4.Provide Current and Critical Facts and Information.
Skeptical consumers want information that is helpful in making a wise buying decision. Hype rarely works today. Solid and unbiased information will help set your business apart from the rest.
5.Provide an "About Us" Section with Personality.
Let the consumer know exactly who you are and why you are in business. You need to show prospects that you are about more than just making a profit. How do you care and why you care are questions that need to be answered here.
6.Provide Actual Testimonials from Satisfied Customers.
You need to make sure and never skimp on this vital area of your website. People want to hear from other people who have purchased your product or services. Real people will talk about both the good and bad side of anything that they have used or purchased. Never put up fake testimonials. Always use real people writing what they really feel. Honesty and sincerity shows.
7.Provide Consistent Comfort to Consumers.
It is as true on the internet as it is in person that you never get a second chance to make a great first impression. Show your honesty, ethics, and sincere desire to be business of choice. Comfort kills skepticism completely.
This is truly the YouTube era and everyone appreciates visual images of products and services. Videos are just one more important way to allow a consumer to get to know you.
9.Pay a professional to design your site.
We have said this before and we'll probably keep saying it! Unless you are an expert yourself, website design is not for amateurs. No matter how intense your efforts, your site will lack the luster of good professional website design. Go with the pros on this one. Improved business website performance will generate greater sales. Incorporate the steps that have been discussed into your website and watch your business fly.


text:
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from .mock import MockConnection  # noqa

class MockEngineStrategy(object):
    MockConnection = MockConnection


I'm about half way through my interview with Jenova Chen when I get the impression that I've annoyed him. Talking about Thatgamecompany, and the limitations of working with only eight other people, I ask Chen if, given the resources, he'd like to develop a more mainstream game.
"Well," he replies, "what is mainstream?"
Immediately, I can sense his frustration: Journey, his latest game, has just become the fastest-selling PlayStation Network release ever. The many months of hype surrounding Journey, and the effusive reviews that followed it, have catapulted Chen and Thatgamecompany into the limelight as a pioneering force behind the new wave of video games.
Naturally, he's defensive of that success. "I think Journey is a triple-A game... If we were the Uncharted team, the Journey character would have arms and have hands. The climbing animation would look more forceful, the sand would look more real, but that only helps the game to be a triple-A game... With only nine people, Journey can still get a point across."
It's hard to disagree. Although Chen's team has always provided a popular alternative to chart games, Journey, with its gorgeous visuals and mass of press coverage, is Thatgamecompany's first real invasion of major league turf.
But Chen is not content with merely competing. Targeting what he perceives as the biggest problem in games today, Chen has set about reinventing online multiplayer. "We wanted to make an online game [that brought] an emotion that has never been done before in online games. If you look around at online games in the console market, it's pretty obvious that no other games give you this feeling of connection with each other, of understanding.
"The goal was to create a game where people felt they are connected with each other, to show the positive side of humanity in them. A lot of games today have a list of quests, places to go, items to collect and rewards to receive... We just ignore each other. So in order to make players care about each other, we have to remove their power, and remove their tasks."
Journey's multiplayer is as much a step back as it is a leap forward. There's no chat system, no power-ups; you can't even see your companion's user name. Paired off at random, it's up to you and your cohort to decide how to engage with one another.
By eschewing the window dressing normally associated with online multiplayer -- kill cams, leaderboards, customization -- Chen revives the fundamental essence of multiplayer games: collaboration. While Battlefield players are killing their way to the next weapon attachment, the travellers in Journey are gaming in sync; gradually, you fall into a perfect rhythm with your nameless partner, waiting for them to catch up and vice versa.
Stick together long enough, and a personal, unspoken bond will form: sitting my character down in the snow, I nipped out to fetch myself a drink, returning a couple of minutes later to find my buddy meditating beside me. Every online gamer has a story like this, but only in Journey does the multiplayer form organically.
"In Journey," explains Chen, "we want to offer the player the choice between individualism and group conformity... We wanted to create an environment where the cooperation is not forced; you're totally fine doing it yourself. If you choose to cooperate, then that is the real essence of connecting two players."


Define a drug as a chemical substance, such as a narcotic or hallucinogen, that affects the central nervous system, causing changes in psychological behaviour and possible addiction.
Evaluate data relating to the correlation between smoking and its negative effects on health.
Demonstrate an understanding that plants produce chemicals that have antibacterial effects in order to defend themselves, some of which are used by humans.
Recall that interdependence is the dynamic relationship between all living things.
limits the length of a food chain.
Explain how the increase in human population contributes to an increase in the production of pollutants, including phosphates, nitrates and sulfur dioxide (acid rain).
Explain how eutrophication occurs and the problems associated with eutrophication in an aquatic environment.
Demonstrate an understanding of how recycling can reduce the demand for resources and the problem of waste disposal, including paper, plastics and metals.


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Q: Examples of fields with characteristic $2$. What are good examples of fields of characteristic $2$, starting from the simplest one to more interesting examples?

A: The simplest is $\mathbb{F}_2$, the field with two elements. The next simplest are its finite extensions, the finite fields $\mathbb{F}_{2^n}$ of characteristic $2$, which together make up its algebraic closure $\overline{\mathbb{F}_2}$. The algebraic closure has various other subfields beyond the finite ones, which can be classified using Galois theory.
Next, there's $\mathbb{F}_2(t)$. Its finite extensions include the function fields over $\mathbb{F}_2$, which describe algebraic curves over $\mathbb{F}_2$, as well as function fields over $\mathbb{F}_{2^n}$. I'm less familiar with the algebraic closure of this thing but probably there are nice things to say about it.
And so forth. In general, every field of characteristic $2$ is an algebraic extension of a purely transcendental extension of $\mathbb{F}_2$, although this is less helpful than it sounds.
A very interesting example, which is so large that it does not form a set, is the "field" of nimbers.

A: The simplest field with characteristic $2$ is $F_2 = Z/2Z$.
More generally, for every $n \geq 1$, there is, up to isomorphism, exactly one field of cardinality $2^n$, denoted $F_{2^n}$. Like all fields of characteristic $2$, these fields contain $F_2$ as a subfield.
Given any field $K$ of characteristic $2$, the algebraic closure $\tilde{K}$ of $K$ also has characteristic $2$. For example, the algebraic closure of $F_2$ can be considered the union of all the fields $F_{2^n}$.
Given any field $K$ of characteristic $2$, the field of rational functions $K(X)$ with coefficients in $K$ also has characteristic $2$. So does the field $K((X))$ of formal Laurent series over $K$.


The Relative Pitch performs at Live and Local Hillsborough Street Spring Fest in Raleigh on Saturday, June 8!!!
I am pleased to announce that Artsplosure was kind enough to give The Relative Pitch an opportunity to show our stuff and invited several of our performers to perform at this year's Live and Local Hillsborough Street Spring Fest on Saturday, June 8 on the Children's Stage at 2pm. Our performers are Ellie Portnoy, Sully Springer, Aaliyah Sholto, and Grace Stypmann. I hope you'll come by and see the kids!!! Click the link to get more information: https://www.liveandlocalhillsboroughst.com/.


Take stress out of planning! We deliver everything you could possibly need to make your big day unforgettable. Let us help you organize your wedding at Riviera Maya.
Our products and services include all local and state taxes, delivery, set up and pick up rental items fees.


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Purdue freshman Bryanna Craig from Millville runs insane 800 PR!!!!!!
December 14, 2022 December 14, 2022 sjtcaweb
Is there an event Millville's Bryanna Craig isn't good at? We haven't found one yet.
Craig, a two-time national champ in the heptathlon and pentathlon, is now a freshman at Purdue, and while she hasn't participated in a collegiate multi-event yet, she showed just how much she's improved her middle-distance fitness with a crazy 800 performance over the weekend.
After winning the high jump at 5-7 ¼ on Friday, Craig ran an eye-opening 2:14.27 to win the 800 at the Edmonds-Wilt Invitational at Purdue's Lambert Fieldhouse in West Lafayette, Ind.
This isn't just impressive, it's important in terms of multi-events, since the 800 is the closing event of the women's multis – the indoor pentathlon and outdoor heptathlon.
Craig's previous PR at 800 meters was 2:18.06 finishing off her win at the Ocean Breeze Nationals in Staten Island, N.Y., in March. Craig was competing for Ruston (La.) High School after spending her first two years at Millville.
In pentathlon scoring, the difference between 2:14.27 and 2:18.06 is 53 points (903 vs. 850), which could be critical in big meets.
Craig's 800 time is fast enough to rank her third among freshmen in NCAA Division 1 in the early going, behind Macey Hilton of SMU [2:10.49] and Jacey Farmer of BYU [2:11.02].
Purdue freshman Jessica Lyons from Allentown High in Monmouth County was second in 2:16.02.
Craig was out in 30.30 for her first lap and then ran 34.16, 35.78 and 34.04 splits for 64.46 and 69.82.
Craig's pentathlon PR is her 3,780 at Ocean Breeze, No. 6 in scholastic history. Her heptathlon PR is 5,388 from the USATF Under-20 Championships in Eugene in June.
Craig has PRs of 25.29 in the 200, 58.14 in the 400, 2:14.27 in the 800, 8.31 in the 55 hurdles, 9.01 in the 60 hurdles, 5-8 in the high jump, 18—0 in the long jump and 30-10 ½ in the shot put indoors and 25.11 in the 200, 2:19.42 in the 800, 14.08 in the 100 highs, 5-9 in the high jump, 18-8 in the long jump, 34-7 in the shot put and 118-6 in the javelin outdoors.
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